5CHOOLS 


"  Tne  virtue 
of  books  is  tlie 
perfecting  of 
reason,  whicli  is 
indeed  the  hap- 
piness of  man." 
Richard    De 


Si 


presented  to  the 
UNIVERSITY  LIBRARY 
UNIVERSITY  OF  CALIFORNIA 
SAN  DIEGO 

by 

Miss,    mnn^   n^vnr^^^nn 


ENGLIS 


CHOOLS 


3  1822  01373  5097 


"On  bokes  for 

to  rede  I  me 

delyte. 

Chaucer, 


TY  JDf  CAUjFORNJA.  SAfi 


Digitized  by  the  Internet  Archive 

in  2008  with  funding  from 

IVIicrosoft  Corporation 


http://www.archive.org/details/bookofballadsoldOOstem 


.S73 


Cnglisil)  30lealrinB«  for  g>ci)oolsf 

GENERAL   EDITOR 

WILBUR  LUCIUS  CROSS 

PPOFESSOR   OF  ENGLISH   IN  VALE   UNIVERSITY 


'     y 


Bishop  Percy 
After  the   Painting   by   Sir  Joshua   Reynolds 


A   BOOK   OF    BALLADS 
OLD  AND   NEW 


SELECTED  A\D  EDITED  BY 

GUIDO   H.   STEMPEL 

ASSOaATE  PROFESSOR  OF  COMPARATIVE  PHILOLOGY 
IN  INDIANA  UNIVERSITY 


NEW  YORK 
HENRY  HOLT  AND  COMPANY 


Copyright,  191 7, 

BY 

HENRY  HOLT  AND  COMPANY 


ACKNOWLEDGMENTS 

Many  questions  of  selection  and  annotation  were 
discussed  with  Dr.  W.  H.  Clawson  of  the  University  of 
Toronto.  Information  concerning  cowboy  life  was  re- 
ceived from  Mr.  and  Mrs.  Will  A.  Emmert,  formerly  of 
Delta  county,  Colorado,  as  well  as  from  Professor  Lomax 
of  the  University  of  Texas.  The  manuscript  was  read 
and  criticized  by  Professor  Albert  F.  Kuersteiner  of  In- 
diana University,  Mr.  Joseph  S.  Ragsdale,  principal  of 
the  McCracken  County  (Kentucky)  High  School,  Mr. 
Garnet  G.  Dodds  of  the  Emmerich  Manual  Training 
High  School  of  Indianapolis,  Miss  Selma  A.  Stempel  of 
the  Fort  Madison  (Iowa)  High  School,  and  the  General 
Editor  of  the  series.  Professor  Cross's  suggestions  saved 
the  section  of  new  Ballads  from  spiritual  resemblance 
to  life  in  Tantallon  Castle.  The  indebtedness  to  Child 
and  Gummere  is  infinite. 

Cordial  thanks  are  due  besides  to  the  living  authors 
and  their  publishers,  whose  permission  to  use  copyrighted 
matter  is  duly  noted  in  loco. 

So  far  as  this  volume  is  mine  to  do  with,  I  dedicate  it 
to  my  parents  and  my  wife,  in  the  name  of  that  Tradition 
through  which  days  are 

"  Bound  each  to  each  bj^  natural  piety." 

G.  H.  St. 


CONTENTS 


Introduction 

1.  What  Popular  Ballads  are  Like 
11.  Why  Popular  Ballads  are  so  Called 

III.  Where  the  Folk  Got  its  Ballads       . 

IV.  Ballad  Themes  and  Ballad  Distribution 
V.  Meter  and  Style 

VI.  The  Scotch  Dialect 
VII.  How  to  Study  the  Ballads      . 
Descriptive  Bibliography 

Old  Ballads 

Baby  Lon 

The  Cruel  Brother 

The  Twa  Sisters  .... 

Edward 

The  Bonnie  Wee  Croodlin  Dow 

The  Douglas  Tragedy  . 

The  Bonny  Lass  of  Anglesey . 

The  Devil  and  the  Girl 

King  John  and  the  Abbot 

Proud  Lady  Margaret  . 

Sweet  William's  Ghost 

The  Wife  of  Usher's  Well      . 

The  Jew's  Daughter 

Sir  Patrick  Spens .... 

St.  Stephen  and  Herod . 

Kemp  Owyne       .... 

The  Laily  Worm  and  the  Machrel  of  the  Sea 

Thomas  Rymer    ..... 

Hind  Etin 


PAGE 

xi 
xii 

xviii 
xxiii 

XXX 

xxxii 

xxxiv 
xxxiv 
xxxvii 


I 
2 

5 
7 
9 

lO 

13 
14 
i6 

20 
23 
25 
27 
29 

31 

32 

34 
36 
39 


vu 


viii                                Contents 

PAGE 

The  Great  Silkie  of  Sule  Skerry 

. 

.         42 

The  Three  Ravens 

•       43 

Bonny  Barbara  Allan    . 

•       44 

Bessy  Bell  and  Mary  Gray    . 

•       45 

King  Estmere 

.       46 

Young  Beichan     . 

•       56 

Hind  Horn  .... 

-       59 

The  Gay  Goshawk 

61 

Get  up  and  Bar  the  Door 

•       6s 

Katharine  Janfarie 

.       67 

Bewick  and  Graham 

.       69 

Young  Waters 

•       77 

The  Battle  of  Otterburn 

•       79 

The  Hunting  of  the  Cheviot  . 

.       84 

Johnie  Armstrong . 

•       94 

Captain  Car,  or  Edom  o'  Gordon 

•       97 

Jock  o'  the  Side    . 

.        lOI 

The  Baron  of  Brackley. 

.      107 

Bonny  George  Campbell 

.     109 

The  Bonny  Earl  of  Murray   . 

.     no 

Johnie  Cock 

.     Ill 

Robin  Hood  and  the  Monk    . 

.    114 

Robin  Hood  and  Guy  of  Gisburn 

.     127 

Robin  Hood  and  the  Curtal  Friar 

.    136 

The  Jolly  Finder  of  Wakefield 

.     140 

Robin  Hood's  Death     . 

.     140 

American  Ballads 

The  Old  Chisholm  Trail 

•    145 

Utah  Carroll 

. 

.    147 

The  Zebra  Dun    .          .          .          .          . 

, 

.    149 

Whoopee  ti  yi  yo,  git  Along,  Little  Dogie 

s 

.   151 

New  Ballads 

The  Wreck  of  the  Hesperus  . 

Longfellc 

"^v     ■    153 

Lord  Ullin's  Daughter  . 

. 

Ca 

npbell 

.  156 

Contents 

Lochinvar    ..... 

.    Scott      . 

The  Glove  and  the  Lions 

.     Hunt      . 

The  Laird  o'  Cockpen  . 

.     Lady  Nairne  . 

The  Courtin'         .... 

.     Loivell    . 

Elegy  on  the  Death  of  a  Mad  Dog 

Goldsmith 

BethGelert           .... 

.     Spencer  . 

The  Dream  of  Eugene  Aram 

.     Hood      . 

The  Neckan          .... 

.     Arnold   . 

The  Ballad  of  Father  Gilligan 

Yeats 

Little  Moccasins  .... 

.     Service    . 

Oliver  West           .... 

.     Knibbs  . 

The  War-Song  of  Dinas  Vawr 

.     Peacock 

Home  they  Brought 

Tennyson 

How  they  Brought  the  Good  News 

from 

Ghent  to  Aix     .... 

.     Browning 

The  Highwa3'man 

.     Noyes     . 

An  Old  Song  Re-sung    . 

.     Masefield 

Drake's  Drum      .... 

.     NcwboH  . 

Ivry    ...... 

.     Macaulay 

The  Landing  of  the  Pilgrim  Fathers  in 

New 

England   ..... 

.     Hemans 

Song  of  the  Cornish  Men 

.     Hawker  . 

The  Battle  of  the  Boyne 

.     Graves    . 

After  Aughrim      .... 

.     Geoghcgan 

Battle  of  the  Baltic 

.     Campbell 

Incident  of  the  French  Camp 

Browning 

The  Relief  of  Lucknow 

Lowell    . 

Barbara  Frietchie 

.     Whillicr. 

O  Captain!    My  Captain! 

.     Whitman 

Ballad  of  East  and  West 

.     Kipling 

•Es  AND  Comment 

S.SARy 

• 

IX 


ILLUSTRATIONS 


Portrait,  Bishop  Percy  with  His  Folio  Manuscript 

Portrait,  Francis  James  Child 

Portrait,  Francis  B.  Gummere 

Air,  The  Three  Ravens 

Air,  Bonny  Barbara  Allan    . 

Gentleman  Riding  out  with  His  Hawk 

Haymaking 

Air,  Chevy  Chase 

A  Battle  Scene  . 

Air,  Captain  Car 

Air,  Johnie  Cock 

"And  Shadow  Hem  in  the  Leaves  Green" 

Air,  When  Shaws  been  Sheen 

"  Robin  was  Reachless  on  a  Root " 

"Nor  One  Behind  did  Stay" 

"He  Hent  up  Robin  on  His  Back" 

Air,  The  Old  Chisholm  Trail 

Air,  Whoopee  ti  yi  yo,  git  Along,  Little  Dogies 

Portrait,  Sir  Walter  Scott    . 


PAGE 
Frontispiece 
xxi 
xxiv 
43 
44 
62 
82 
84 
90 

97 

III 
114 

127 

^33 
136 

138 
145 
151 
158 


\^: 


INTRODUCTION 

A  BALLAD  is  a  song  that  tells  a  story.  Of  the  ballads  in 
this  book,  some  have  been  handed  down  by  oral  tradition, 
some  are  the  productions  of  known  poets.  The  traditional 
ballads  belong  to  popular  or  folk  poetry,  the  others  to 
the  poetry  of  art. 

Traditional  poetry  differs  greatly  from  artistic  poetry. 
People  of  to-day  w^ho  read  such  poetry  for  the  first  time, 
are  apt  to  feel  that  it  is  inferior  and  even  without  merit. 
But  when  they  know  it  better,  they  realize  that  it  is  in 
some  ways  more  beautiful  and  interesting  than  the  polished 
work  of  literary  artists.  This  is  a  discovery  that  students 
need  to  make  for  themselves.  It  is  to  help  them  make  it 
that  this  little  book  is  presented  to  them. 

The  best  way  is  to  read  ballads,  to  read  them  aloud, 
over  and  over  again,  to  learn  them  by  heart,  if  possible 
to  sing  them.*  But  it  may  help  the  student  somewhat  if 
he  knows  beforehand  some  of  the  peculiar  features  of 
popular  ballads. 

'  *  .  .  .  The  whole  ballad  is  the  thing.  One  would  .  .  .  bid  the  seeker 
after  excellent  differences  of  the  ballads  to  read  Child  Waters,  .  .  . 
Babylon,  Lord  Randal,  Spens,  Glasgcrion,  The  Wife  of  Usher's  Well;  to 
read  Johnie  Cock,  Robin  Hood  and  the  Monk,  Jock  o'  //c  Side,  the  Cheviot; 
and  to  sing  out  loud  and  bold  whatever  else  commends  itself,  Uke  the 
lilt  of  St.  Steplien  or  the  crooning  air  of  the  Queen  of  Elfan's  Nourice.  One 
must  live  one's  way  into  balladry,  must  learn  to  love  it  as  a  whole  and  not 
by  elegant  extracts. — Gummere. 

The  beauty  of  the  ballad  is  uncertain  and  often  corrupted  by  forgetfulness 
and  the  ordinary  accidents  of  oral  tradition.  It  is  not  always  true  that  the 
right  subject  has  the  right  form.     But  the  grace  of  the  ballads  is  unmis- 


xil  Introduction 


What  Popular  Ballads  are  Like 

The  characteristics  here  discussed  can  best  be  studied 
in  the  first  dozen  or  so  ballads  on  our  list.  We  shall  call 
these  and  similar  ballads  typical  or  more  primitive. 

Refrain.  The  word  ballad,  which  is  only  another  form 
of  the  word  ballet,  means  dance-song.  Of  the  dance  we 
shall  say  nothing  at  present.  Our  ballads  do  not  suggest 
unmistakably  any  connection  with  dancing.  They  do, 
however,  suggest  singing,  particularly  in  the  refrain. 
A  refrain  is  entirely  in  place  in  a  song  and  entirely  out  of 
place  in  a  poem  to  be  read  or  recited.  When  ballads  cease 
to  be  sung,  they  slough  off  their  refrain,  or  change  it  into 
something  more  suitable  to  reading  and  recitation. 

Sometimes  the  refrain  is  hummed  or,  as  in  No.  278  of 
Child's  collection,  whistled.  If  this  humming  becomes 
articulate,  it  takes  the  form  of  meaningless  syllables  and 
words,  as  in  Hind  Horn  and  The  Three  Ravens.  A  further 
advance  is  seen  in  such  phrases  as  furnish  the  refrain  of 
The  Cruel  Brother  and  The  Twa  Sisters.  Such  a  phrase 
may  be  made  to  carry  a  suggestion:  the  scene  of  action, 
the  nature  background,  the  keynote  of  the  story.  Thus 
*'Binnorie"   may   originally  have  been   mere   articulate 

takable;  it  is  unlike  anything  in  the  contemporary  romances,  because  it  is 
lyrical  poetry.  It  is  often  vague  and  intangible.  It  is  never  the  same  as 
narrative  romance. 

"He's  tane  three  locks  o'  her  yellow  hair, 

Binnorie,  O  Binnorie! 
And  wi'  them  strung  his  harp  so  fair 

By  the  bonny  mill-dams  o'  Binnorie." 

It  is  the  singing  voice  that  makes  the  difference;  and  it  is  a  difference  of 
thought  as  well  as  style. — Ker. 


What  Popular  Ballads  arc  Like  xiii 

humming,  a  series  of  musically  liquid  syllables;  but  ''By 
the  bonnie  mills  dams  of  Binnorie,"  in  several  versions 
of  The  Twa  Sisters,  reiterates  in  a  highly  suggestive  way 
the  place  name  connected  with  the  story.  "Edward, 
Edward"  and  "Mither,  Mither"  constitute  the  refrain 
of  Edward,  but  they  also  reveal  to  us  the  tenseness  of  the 
dramatic  situation. 

Finally  we  have  numerous  ballads  in  which  the  second 
and  fourth  lines  of  many  stanzas  have  a  meaning  so  feeble 
that  they  can  be  omitted:  they  are  more  than  refrain, 
but  less  than  verses.  Such  lines  show  how  the  four-line 
stanza  developed  out  of  the  two-line  stanza.  In  The 
Douglas  Tragedy,  e.  g.,  the  second  and  fourth  lines  would 
scarcely  be  missed  in  stanzas  4,  6,  8,  9,  11,  12,  14,  16,  and 
perhaps  two  or  three  others.  In  Proud  Lady  Margarei 
and  Sweet  William's  Ghost  about  a  third  of  the  stanzas 
are  of  this  t3q3e;  in  The  Wife  of  Usher's  Well  and  Sir  Patrick 
Spens  about  half. 

The  chorus  is  a  refrain  that  comes  wholly  after  each 
stanza-.  A  burden  or  Undersong  is  sung  as  an  accompani- 
ment to  each  stanza. 

Not  strictly  a  refrain,  but  serving  the  same  musical 
purpose,  is  the  repetition  of  lines,  as  in  our  version  of 
The  Twa  Sisters,  in  Edward,  and  in  The  Three  Ravens. 
This,  like  the  refrain,  may  vary  from  a  mere  device  for 
supplying  words  for  the  air,  as  in  The  Three  Ravens,  up  to 
emphasizing  the  whole  intent  and  purpose  of  the  stanza, 
as  in  Edward. 

\ 

"Of  the  305  ballads  in  Child's  collection,  106  show  in  some  version 
evidence  of  chorus  or  refrain.  Of  some  1250  versions  in  all,  about 
300  have  a  refrain;  but  among  the  old  ballads  in  couplets,  out  of  31 
only  7  lack  the  refrain  as  they  stand,  and  even  these  show  traces  of 
it." — •Gummcrc,  The  Popular  Ballad. 


xlv  Introduction 

Incremental  Repetition.  Of  the  several  kinds  of  repeti- 
tion found  in  ballads,  the  most  striking  and  characteristic 
is  the  kind  called  by  Professor  Gummere  incremental 
repetition.  It  consists  in  repeating  a  stanza  with  the 
change  of  a  significant  word  or  phrase.  Thus  in  The  Twa 
Sisters,  the  "yallow  hair"  of  the  first  line  of  stanza  20 
becomes  the  "middle  sma'  "  of  21  and  the  "fingers  white" 
of  22,  with  corresponding  incremental  variation  in  the 
second  line  of  each  of  the  stanzas. 

Incremental  repetition  is  the  ballad  way  of  dwelling 
on  a  point  and  emphasizing  it.  It  does  this  by  mere  cumu- 
lative force,  as  in  the  example  above,  or  by  an  added 
stanza  of  antithesis,  as  in  stanzas  11-13  of  the  same  ballad, 
or  by  climax,  as  in  stanzas  26-28. 

The  Cruel  Brother,  as  pointed  out  in  the  notes,  is  made 
up  almost  wholly  of  sets  of  incremental  stanzas.  The 
Hangman's  Tree  (Child,  No.  95;  see  also  Kittredge's 
Introduction  to  the  one-volume  edition,  pp.  xxv-xxvi) 
contains  nothing  else.  The  condemned  maid  sees  her 
father  (stanza  i),  mother  (stanza  4),  sister  (stanza  7) 
coming.  She  asks  each  in  turn  (stanzas  2,  5,  8)  if  he  or 
she  has  come  to  save  her,  and  receives  from  each  (stan- 
zas 3,  6,  9)  a  negative  answer.  The  corresponding  stanzas 
are  quite  identical,  except  for  the  name  of  the  relative 
addressed.  So  far  the  effect  is  merely  cumulative.  The 
antithesis  comes,  pointedly,  in  stanzas  10-12,  in  which 
the  sweetheart  is  seen  coming,  is  asked  the  question  as 
before,  and  answers  in  the  afiSmiative. 

Parallel  Repetition.  Incremental  repetition  is  but  one, 
though  the  most  characteristic  form  of  repetition.  A 
message  is  repeated  in  full  when  delivered  by  the  mes- 
senger; or,  as  in  King  Estmere,  the  message  (stanzas  31-32) 
repeats   the   narrative   account    (stanzas   26-27)   of   the 


What  Popular  Ballads  are  Like  xv 

events  that  made  the  message  necessary.  Similarly  in 
King  John  and  the  Abbot  of  Canterbury  the  riddles  are 
repeated  in  full  each  time  they  are  referred  to.  Answers 
are  given  as  nearly  as  possible  in  the  words  of  the  ques- 
tion: thus  in  Sweet  William's  Ghost  stanza  3  echoes  stanza 
2  and  stanza  13,  stanza  12;  and  in  Proud  Lady  Margaret 
the  rejoinder  of  stanzas  16-17  is  in  terms  of  the  provoca- 
tion, stanzas  14-15.  Again,  instructions  are  repeated  in 
narrative  form  in  The  Jew's  Daughter,  stanza  16  compared 
with  stanza  15,  in  The  Gay  Goshawk,  stanzas  24-25  com- 
pared with  stanzas  17-18.  An  action  or  situation  once 
described,  the  description  is  apt  to  be  used  again  wherever 
it  will  serve:  compare  stanzas  10  and  14  of  The  Douglas 
Tragedy  with  3  and  11  respectively. 

Commonplaces.  In  the  last  example  a  stanza  that  has 
been  used  in  one  part  of  a  ballad  is  used  again  in  another 
part.  But  it  may  also  turn  up  in  an  entirely  different 
ballad;  not  because  one  ballad  steals  or  borrows  from 
another,  but  because  such  stanzas  belong  to  the  common 
stock  of  balladry  and  may  be  used  by  anyone.  Such 
stock  stanzas,  lines,  etc.,  are  called  commonplaces.  To 
realize  the  part  they  play  in  ballad-making,  one  must 
have  access  to  a  larger  collection  of  ballads.  But  a  few 
examples  may  be  cited  here;  others  will  be  referred  to  in 
the  notes.  Stanzas  17-19  of  The  Douglas  Tragedy  occur 
in  some  form  in  twenty-six  versions  of  nine  ballads. 
Stanza  4  of  Sir  Patrick  Spens  occurs  similarly  in  thirty^ 
one  versions  of  seven  ballads. 

Commonplaces  let  us  into  the  secret  of  ballad  repetition. 
It  is  easier  to  use  a  ready-made  line  or  stanza  than  to 
invent  a  new  one.  Even  the  incremental  stanza  is  pri- 
marily merely  a  repetition  with  variation  to  escape  the 
necessity  of  composing  something  new.    But  we  saw,  in 


xvi  Introduction 

our  analysis  of  The  Hangman's  Tree,  that  incremental 
repetition  has  become  a  structural  feature  of  the  ballad. 
Other  forms  of  repetition,  too,  may  do  something  for  the 
ballad  besides  keeping  it  going,  may  in  one  way  or  another 
add  to  the  effectiveness  of  the  whole.  The  Laily  Worm 
sings  his  song,  is  asked  to  sing  it  again,  and  does  so;  it  is 
the  same  song,  but  it  has  gained  in  dramatic  value.  Why? 
Stanzas  13-15  of  Hind  Etin  also  gain  in  dramatic  force 
when  repeated  as  stanzas  17-19.  Why?  Would  there  be 
this  gain  if  stanzas  17-19  came  first  and  stanzas  13-15 
after?  The  refrain-like  repetition  of  the  second  line  of 
stanza  4  of  St.  Stephen  and  Herod  in  stanza  6  and  stanza  8 
is  highly  effective.  In  these  examples  we  have  emphasis. 
In  Barbara  Allan  stanzas  3  and  7,  and  in  The  Douglas 
Tragedy  stanzas  3  and  10,  11  and  14,  the  repetitions  serve 
to  mark  divisions  of  the  story.  But  even  when  repetition  is 
just  the  readiest  way,  just  to  fill  in  or  keep  things  going,  it 
usually  has  a  charm  of  quaint  simplicity.  It  is  more  than 
a  manner,  it  is  a  good  part  of  the  stuff  of  balladry. 

Dialogue.  The  Hangman's  Tree  was  described  to  show 
how  a  ballad  may  consist  wholly  of  incremental  stanzas; 
incidentally,  the  same  account  of  it  shows  how  a  ballad 
may  be  wholly  in  dialogue.  Edward  and  The  Bonnie  Wee 
Croodlin  Dow  are  further  examples.  In  Sweet  William's 
Ghost  practically  every  stanza  not  in  dialogue  is  obviously 
a  later  addition  and  could  be  dropped  without  detriment 
to  the  whole  and  even  to  manifest  advantage.  The  same 
is  true  of  many  other  ballads.  Dialogue  is  the  primitive 
fact;  scenario,  character,  and  other  explanatory  matters 
come  later.  The  older  or  more  primitive  a  ballad  is,  gen- 
erally speaking,  the  greater  the  proportion  of  dialogue. 
The  Earl  0'  Bran  is  an  earlier  version,  The  Douglas  Tragedy 
a  later:  one  reason  for  believing  this  is  that  the  ratio  of 


What  Popular  Ballads  are  Like  xvil 

dialogue  to  narrative  is  three  to  two  in  the  former,  two 
to  three  in  the  latter. 

Leaping  and  Lingering.  A  ballad  story  advances  by 
what  has  aptly  been  termed  leaping  and  lingering.  The 
transition  from  one  part  of  the  story  to  another  is  abrupt; 
each  part  is  dwelt  on  or  lingered  over  rather  than  worked 
out  and  developed.  A  spot-light  is  turned  here,  then 
there — the  rest  is  darkness,  but  often  an  eloquent  darkness. 

These  several  characteristics  are  not  separate  facts, 
but  parts  of  one  general  scheme.  Repetition  is  the  ground- 
work of  it  all.  Refrains  are  merely  a  very  elementary 
form  of  repetition.  Dialogue  is  worked  out  by  means 
of  repetition.  Lingering  is  repetition  viewed  as  a  narrative 
method.  And  when  one  series  of  repetitions  ends  and 
another  begins,  abruptly,  we  call  it  leaping.  Repetition 
is  the  one  pervasive  fact.  A  ballad  is  thus  really  a  pattern 
that  suggests  a  story.  We  defined  a  ballad  as  a  song  tell- 
ing a  story;  in  a  truer  sense,  it  is  a  song  that  flashes  a  story 
at  us.  To  think  of  it  as  a  narrative  poem  is  to  rob  our- 
selves of  the  very  pleasure  ballads  can  give  us. 

Situation  and  Plot.  Properly  speaking,  the  story  of 
these  older  ballads  is  not  a  story  at  all,  but  merely  a  situa- 
tion. And  if  we  think  of  it  as  a  situation,  we  shall  under- 
stand better  what  a  ballad  really  is,  with  all  these  curious 
traits  of  leaping  and  lingering,  repetition  and  dialogue, 
and  refrain.  All  are  but  aspects  of  the  same  process. 
We  shall  show  presently  that  ballad  growth  starts  with  a 
chorus  dancing  and  singing;  the  song,  at  first  a  mere  re- 
frain of  ululation,  gives  articulate  expression  to  some 
momentarily  strong  idea;  and  this,  if  at  all  dramatic, 
takes  on  the  form  of  a  situation.  First  the  dance,  then 
the  song,  lastly  the  situation.  Plot  comes  very  much 
later. 


xvili  Introduction 

II 
Why  Popular  Ballads  are  so  Called 

The  terms  ballad  and  popular  ballad  can  best  be  ex- 
,  plained  after  a  preliminary  sketch  of  the  history  of  ballad 
collecting. 

Broadsides.  The  first-fruits  of  the  printing  press,  for 
the  common  people,  were  broadsides.  A  broadside  was  a 
single  sheet  containing  some  piece  that  found  a  ready  sale 
among  common  folk.  We  get  a  glimpse  of  the  traffic  in 
Shakespeare's  Winter's  Tale,  IV.  iv.  Broadsides,  and 
especially  broadside  ballads,  were  prized  in  many  a  humble 
home,  were  preserved  in  bundles  or  pasted  on  the  walls 
of  cottages.  In  the  late  seventeenth  and  early  eighteenth 
century,  extensive  collections  were  made  by  such  men  as 
Samuel  Pepys,  the  diarist,  and  Robert  Harley,  Earl  of 
Oxford.  Of  the  hundreds  of  ballads  in  these  large  collec- 
tions only  a  small  part  are  popular  ballads. 

Garlands.  In  the  seventeenth  and  eighteenth  centuries, 
numerous  little  song-books  were  issued,  called  garlands. 
Among  these  songs  are  some  popular  ballads. 

Percy  Folio.  Of  the  three  old  manuscript  collections, 
the  most  important,  though  latest,  is  the  one  now  known 
as  the  Percy  Folio.  It  was  compiled  about  1650,  and 
contains  some  fifty  popular  ballads  together  with  between 
two  and  three  times  as  many  other  pieces.  "This  very 
curious  old  manuscript  .  .  .,"  Percy  tells  us,  "I  rescued 
from  destruction,  and  begged  at  the  hands  of  .  .  .  Hum- 
phrey Pitt,  Esq.,  then  living  at  Shiffnal,  in  Shropshire,  .  .  . 
I  saw  it  lying  dirty  on  the  floor,  under  a  Bureau  in  y' 
Parlour:  being  used  by  the  maids  to  light  the  fire."  The 
finding  of  this  manuscript  book  about  the  middle  of  the 


Why  Popular  Ballads  are  so  Called         xix 

seventeenth  century  marks  the  beginning  of  the  serious 
study  of  ballad  Hterature. 

Percy.  Thomas  Percy,  later  Bishop  of  Dromore,  in  Ire- 
land, published  in  1765  The  Reliques  of  Ancient  English  Po- 
etry consisting  of  Old  Heroic  Ballads,  Songs,  and  Other  Pieces 
of  our  Earlier  Poets,  together  with  Some  Few  of  Later  Date. 
This  publication  was  suggested  by  the  discovery  of  the 
manuscript  above  described.  But  in  planning  the  work 
Percy  followed  the  excellent  advice  of  the  poet  William 
Shenstone.  He  included,  besides  some  forty-five  ballads 
and  romances  from  the  manuscript,  ballads  sent  in  to 
him  by  various  correspondents,  reprints  of  broadsides,  and 
poems  by  Marlowe,  Raleigh,  Shakespeare,  Beaumont 
and  Fletcher,  and  several  later  poets.  The  purpose  was 
to  induce  educated  readers  to  become  acquainted  with 
popular  poetry  by  interspersing  among  the  old  ballads  a 
number  of  poems  more  to  the  average  liking  of  the  times. 
In  this  the  book  succeeded.  Interest  was  aroused  by 
Percy's  Reliques  not  only  in  England  but  also  in  Germany. 

Collectors.  Percy  had  gathered  in  several  ballads  from 
various  sources.  Others  now  became  active  in  this  field. 
Ritson  not  only  made  and  published  extensive  collections 
of  Robin  Hood  ballads,  old  romances,  etc.,  but  supplied 
in  his  notes  a  tremendous  mass  of  antiquarian  information. 
Collectors  were  especially  active  in  Scotland,  which  had 
more  and  better  ballads  than  any  other  part  of  the  king- 
dom. In  the  unbroken  line  of  Scotch  collectors  we  must 
name  Herd,  Jamieson,  Laing,  Cunningham,  Kinloch, 
Motherwell,  and  Aytoun. 

Scott.  The  greatest  of  these  Scotch  collectors  was  Sir 
Walter  Scott.  His  first-hand  knowledge  of  popular  tradi- 
tion remains  probably  without  a  parallel.  He  had  be- 
sides, the  sympathetic  power  to  make  it  all  seem  alive  to 


XX  Introduction 

the  reader.  Scott's  Minstrelsy  of  the  Scottish  Border  ap- 
peared in  1802-3.  Wheatley  in  his  edition  of  Percy's 
Reliques  speaks  truly  of  it  when  he  calls  it  "the  only  work 
which  is  worthy  to  stand  side  by  side  with  the  Reliques." 

Child.  Professor  Francis  James  Child  of  Harvard 
University  became  preeminently  the  scholar  of  the  bal- 
lad. His  authority  in  ballad  lore  was,  and  is,  recognized 
throughout  the  world  of  learning.  He  published  a  fairly 
complete  collection  of  English  and  Scottish  ballads  in 
1858-59,  in  eight  small  volumes.  But  his  great  achieve- 
ment and  one  of  the  great  monuments  reared  by  American 
scholarship  is  his  English  and  Scottish  Popular  Ballads, 
in  five  quarto  volumes.  This  appeared  in  ten  parts,  the 
first  in  1882,  the  last  in  1898,  two  years  after  his  death. 
In  this  great  work  he  was  loyally  supported  by  American 
and  European  scholars.  He  succeeded  therefore  in  getting 
and  printing  practically  every  version  of  every  ballad. 
Possibly  one  newly  discovered  ballad  is  to  be  added  to 
the  305  he  printed;  and  while  other  versions  of  some  of 
his  ballads  have  been  found  since  his  death,  they  add  little 
to  the  work  he  left  us.  Besides  printing  every  known 
version  of  every  known  ballad,  Child  compared  each 
ballad  with  similar  ballads  and  folk-tales  current  in  vari- 
ous parts  of  Europe  and  the  world.  He  thus  laid  a  solid 
foundation  for  the  comparative  study  of  ballad  literature 
and  of  folk  literature  in  its  broadest  aspects.  Some  idea 
of  the  labor  he  expended  on  the  subject  may  be  derived 
from  these  figures:  the  index  of  Titles  of  Books  (foreign) 
containing  ballads  numbers  about  500  titles  in  thirty 
languages;  the  index  of  other  books  consulted  contains 
about  3000  titles.  Consulting  these  books  was  of  course 
but  a  small  part  of  all  he  did. 

A  one-volume  edition  of  Child's  work  was  published 


Why  Popular  Ballads  are  so  Called         xxi 

in  1904,  edited  by  Child's  daughter,  Mrs.  Sargent,  and 
Professor   George  L.   Kittredge;   it  is   described  in   the 
Bibliography  appended  to  this  Introduction. 
Our  use  of  the  term  ballad  is  not  much  older  than  the 


Francis  James  Child 
Reproduced  by  courtesy  of  Houghton  Mifflin  Company 


Reliques.  Originally  ballad  or  ballet  was  a  dance,  then  a 
song  sung  as  an  accompaniment  to  the  dance,  then  any 
kind  of  song.  What  we  now  know  as  The  Song  of  Songs 
was  in  the  Bishops'  Bible  of  1568  entitled  The  Ballet  of 
Ballets  of  Solomon.  Percy  himself  meant  by  ballad  a 
simple  narrative  song  of  the  people.  He  had  no  idea  of 
connecting  it  with  the  dance.    We  shall  soon  see,  however, 


xxii  Introduction 

that  OUT  ballads,  even  though  they  received  this  name 
rather  by  accident,  may  very  well  be  thought  of  as  dance- 
songs.  One  of  Percy's  editors,  Wheatley,  says  justly: 
''As  a  ballad  is  now  a  story  told  in  verse,  so  a  ballet  is  now 
a  story  told  in  a  dance.  Originally  the  two  were  one, 
and  the  ballad  was  a  song  sung  while  the  singers  were 
dancing." 

We  may  now  inquire  why  ballads  are  called  popular 
ballads,  as  in  the  title  of  Child's  great  work. 

From  Percy  on,  emphasis  was  laid  more  and  more  on 
getting  the  ballads  as  they  were  actually  sung  or  recited. 
Let  us  examine  the  facts  of  oral  tradition  in  the  case  of 
one  of  our  ballads.  The  Twa  Sisters. 

Of  the  twenty-five  versions  printed  by  Child,  sixteen 
are  stated  to  have  been  taken  down  from  singing  or  recita- 
tion. Four,  taken  from  collectors'  manuscripts,  and  four 
more  from  collectors'  editions,  may  unhesitatingly  be 
assumed  to  have  come  the  same  way,  as  probably  did 
also  the  single  broadside  version.  Besides  Scotland,  the 
countries  represented  in  this  oral  tradition  are  England, 
Wales,  Ireland,  and  America. 

Most  instructive  is  what  we  read  about  the  persons 
who  recited  the  ballads.  Nine  of  them  are  unnamed: 
"an  old  woman,"  "traced  to  an  old  nurse,"  "repeated 
by  an  ignorant  woman  in  her  dotage,"  "sung  by  an  old 
cotter- woman  fifty  years  ago;  learned  by  her  from  her 
grandmother,"  "taken  down  from  the  mouth  of  the  spin- 
ning wheel,  if  I  may  be  allowed  the  expression."  When 
the  reciter  is  named  or,  like  Mrs.  Brown  of  Falkland,  is  a 
person  of  some  note,  the  case  is  not  greatly  altered.  Mrs. 
Brown,  as  Scott  tells  us,  owed  her  taste  for  ballads  and 
tales  of  chivalry  to  her  aunt,  Mrs.  Farquhar,  "a  good  old 
woman,  who  spent  the  best  part  of  her  life  among  flocks 


Where  the  Folk  Got  its  Ballads  xxiii 

and  herds,"  and  whose  "tenacious  memory  .  .  .  retained 
all  the  songs  she  had  heard  from  nurses  and  country- 
women." 

Our  typical  ballads  have  thus  come  to  us  pretty  straight 
from  unlettered  people  living  in  out  of  the  way  places, 
people  of  no  converse  with  literature.  Most  of  these, 
but  not  all,  were  women,  because  women  were  the  last 
to  forget  their  ballads.  If  Herd  and  Scott  and  Jamieson 
and  Kinloch  had  collected  ballads  a  century  or  two  earlier, 
they  would  have  found  men  as  well  as  women,  shepherds 
as  well  as  milkmaids,  who  knew  them  and  sang  them. 
Ballads,  then,  are  poetry  of  the  people,  learned  by  ear 
and  transmitted  orally,  known  and  sung  by  the  whole 
community.  Not  only  did  they  exist,  as  they  do  to  a 
limited  extent  still,  independent  of  written  and  printed 
literature,  but  the  introduction  of  printing  and  education 
kills  them.  "They  were  made  for  singing  an'  no  for  read- 
ing; but  ye  hae  broken  the  charm  now,  an'  they'll  never 
be  sung  mair,"  the  mother  of  the  Ettrick  Shepherd  said 
to  Scott.  Some  of  the  old  ballads  are  still  sung  here  and 
there  in  remote  places.  But  they  are  dying  out,  and  as 
they  die,  there  are  no  new  ones  to  take  their  place.  Child's 
collection  is  complete.  Balladry  is  a  "closed  literary 
account." 

Ill 

Where  the  Folk  Got  its  Ballads 

The  enthusiasm  awakened  by  Percy's  Reliques  ran  even 
higher  in  Germany  than  in  England.  The  Germans  saw 
in  ballads  not  only  poetry  of  the  people  but  poetry  by 
the  people.  Herder  elocjuently  set  forth  the  contrast 
between  poetry   that   sprang   spontaneously  out  of   the 


xxiv  Introduction 

heart  of  tiie  folk  and  the  poetry  produced  by  the  individual 
efforts  of  men  of  letters.     Jacob  Grimm  gave  currency 
to  the  belief  that  the  folk  produces  its  poetry. 
That  popular  poetry  is  produced  by  the  people  as  a 


Francis  B.  Gummere 

whole  and  not  by  individual  poets,  was  a  statement  that 
many  students,  quite  naturally,  foimd  hard  to  believe. 
It  remained  for  an  American  scholar.  Professor  Francis  B. 
Gummere  of  Haverford  College,  to  restate  it  in  such  a 
way  as  to  render  it  acceptable  even  to  the  most  literal- 
minded. 
The  beginnings  of  poetry  must  be  looked  for  in  the 


Where  the  Folk  Got  its  Ballads  xxv 

dance — "the  pantomimic  dances  which  are,  almost  all 
over  the  world,  so  striking  a  feature  in  savage  social  and 
religious  life."  To  quote  further  from  Jane  Ellen  Harri- 
son's Ancient  Art  and  Ritual:  "When  a  savage  wants  sun 
or  wind  or  rain,  ...  he  summons  his  tribe  and  dances 
a  sun  dance  or  a  wind  dance  or  a  rain  dance.  When  he 
would  hunt  or  catch  a  bear,  ...  he  rehearses  his  hunt 
in  a  bear  dance."  Savages  "do  what  they  want  done" 
for  them.  But  they  also  reenact  what  they  themselves 
have  done  and  experienced,  a  hunt  or  a  battle.  The 
magical  dance  is  a  kind  of  prayer,  the  commemorative 
dance  a  kind  of  ballad  or  history.  But  whether  it  is  the 
one  or  the  other,  the  important  thing  is  that  it  is  choral: 
the  whole  tribe  takes  part  in  it.  We  have,  then,  what 
Gummere  calls  the  communal  dancing  throng,  and  usually 
singing  as  well  as  dancing! 

What  the  dance  gives  to  poetry  is  rhythm.  The  collec- 
tive howl  of  the  tribal  chorus  catches  the  regular  rise  and 
fall  of  the  feet.  How  this  collective  howl  becomes  articu- 
late and  finally  rises  to  sensible  utterance,  we  have  already 
indicated  in  describing  the  refrain.  Once  it  is  sensible 
utterance,  it  is  poetry.  It  is  poetry  of  a  very  low  order, 
but  like  poetry  of  the  highest  order,  it  is  a  rhythmic  ex- 
pression of  emotion  in  speech. 

An  example  of  choral  poetry  of  this  most  primitive 
kind  comes  to  us  from  Brazil.  The  Aymores  or  Botocudos  ^ 
are  described  as  little  better  than  leaderless  hordes  living 

1  The  student  should,  if  possible,  hear  Victor  record  17611-B 
played.  It  records  the  Medicine  Song,  White  Dog  Song,  and  Grass 
Dance  as  performed  by  the  Glacier  Park  tribe  of  Blackfeet  Indians. 
Though  by  no  means  as  primitive  as  the  Botocudan  dance-songs, 
these  Indian  analogues  will  bring  home  to  the  student  as  nothing 
else  the  points  under  discussion. 


xxvi  Introduction 

in  the  lowest  state  of  savagery.  "On  festal  occasions  the 
whole  horde  meets  by  night  round  the  camp  fire  for  a 
dance.  Men  and  women  alternating  .  .  .  form  a  cir- 
cle; ..  .  the  entire  ring  begins  to  turn  to  the  right  or 
to  the  left,  while  all  the  dancers  stamp  strongly  and  in 
rhythm  the  foot  that  is  advanced,  and  drag  after  it  the 
other  foot.  Now  with  drooping  heads  they  press  closer 
and  closer  together;  now  they  widen  the  circle.  Through- 
out the  dance  resounds  a  monotonous  song  to  the  time  of 
which  they  stamp  their  feet.  Often  one  can  hear  nothing 
but  a  continually  repeated  Kalaul  aha!  .  .  .  again,  how- 
ever, short  improvised  songs  in  which  are  told  the  doings 
of  the  day,  the  reasons  for  rejoicing,  what  not,  as  'Good 
hunting,'  or  'Now  we  have  something  to  eat,'  or  'Brandy 
is  good.'  Now  and  then,  too,  an  individual  begins  a  song, 
and  is  answered  by  the  rest  in  chorus.  .  .  .  They  never 
sing  without  dancing,  never  dance  without  singing,  and 
have  but  one  word  to  express  both  song  and  dance." 
(Ehrenreich  cited  by  Gummere.) 

This  is  one  example  out  of  many.  We  give  it  in  full 
because  it  may  and — for  the  present  purpose  of  this  book — 
must  represent  all.  None  are  quite  so  primitive,  yet  all 
are  like  it  in  essentials.  The  only  traits  we  need  add  are 
of  the  following  types: 

1.  An  individual  not  only  begins  a  song,  but  improvises 
a  whole  stanza;  chorus  as  above. 

2.  One  individual  after  another  improvises  a  stanza; 
chorus  as  above. 

3.  The  chorus  is  divided  for  responsive  singing,  for 
contests,  etc. 

4.  Few  savages  are  so  entirely  without  history  or  tradi- 
tion as  the  Botocudos:  everywhere  else,  then,  memory  aids 
and  enriches  improvisation. 


Where  the  Folk  Got  its  Ballads         xxvii 

5.  One  individual  sings  or  recites  most  of  what  we 
should  call  the  ballad  or  story. 

But  in  all  this  variety  (5.  excepted)  one  fundamental 
fact  is  constant:  The  whole  tribe  sings  and  dances,  and 
whatever  improvisation  there  may  be,  all  have  some 
share  in  it.  The  gift  of  improvisation  is  common,  and 
memory  is  active  and  accurate.  In  all  popular  poetry, 
therefore,  we  accordingly  have,  as  Ten  Brink  phrases  it, 
production  and  reproduction  intermingled,  new  and  old 
in  a  living  flow. 

We  can  now  understand  what  Gummere  calls  com- 
munal composition  and  can  see  the  significance  of  such 
things  as  incremental  repetition,  commonplaces,  and 
leaping  and  lingering,  such  things  as  refrain  and  dialogue. 
They  are  principles  of  composition.  They  make  possible 
the  production  of  a  fairly  well  ordered  ballad  by  the  com- 
mon activity  of  the  whole  tribe. 

The  tribe  is  gathered  in  dance  to  celebrate,  say,  a  day's 
hunt.  The  incidents  of  the  day  are  vividly  present  to  all 
minds.  Some  salient  feature  occurs  to  all  at  once,  and 
with  it  even  the  verbal  expression  comes  to  many  lips  at 
once,  since  all  think  alike  and  feel  alike.  In  many  in- 
stances the  verbal  expression  would  be  a  commonplace 
stanza,  the  stereotyped  expression  resulting  from  many 
previous  acts  of  communal  composition.  The  refrain  eases 
the  stress  of  improvisation.  Repetition  does  the  same. 
Incremental  repetition,  which  again  may  consist  in  part 
of  remembered  commonplace,  varies  the  theme  and  dwells 
on  it.  One  incident  suggests  another,  either  to  the  whole 
throng  or  to  someone  who  for  the  moment  takes  the  lead. 
The  song  leaps  to  the  new  interest  and  lingers  upon  it. 
If  the  incident  is  dramatic,  the  singing  may  take  the  form 
of  dialogue  between  individuals  or  between  half-choruses. 


xxviii  Introduction 

Here  again  memory  plays  quite  as  important  a  part  as 
improvisation.  In  time  it  plays  a  larger  part.  The  ballad 
of  the  hunt  sets  and  settles  to  a  fixed  order  and  form,  yet 
not  so  fixed  that  improvisation  and  variation  are  pre- 
cluded. The  interplay  of  production  and  reproduction 
continues  through  communal  life.  That  is  why,  as  Kit- 
tredge  says,  there  are  texts  of  ballads,  but  no  one  final 
and  authoritative  text. 

The  individual  reciter  is  a  late  development.  He  is  not  a 
poet  in  our  sense  of  the  word.  He  recites  the  connected 
story  with  choral  accompaniment  and  does  most  of  the 
improvisation.  But  the  traditions  are  so  detailed  in 
phrase  and  form,  that  improvisation  has  none  of  the  marks 
of  originality.  The  reciter  varies  the  old  song,  shortens 
it  or  lengthens  it,  but  it  is  the  old  tribal  song,  a  traditional 
ballad  and  not  a  brand-new  product.  Such  is  the  general 
outline  of  the  situation  so  long  as  the  tribe  or  community 
is  one  and  joins  in  the  communal  song  and  dance.  When 
the  community  ceases  to  act  as  a  unit,  the  situation 
changes.  The  old  songs  linger  on  among  the  least  progres- 
sive members,  the  simple  shepherd  folk,  the  dairy-maids 
and  nurses.  They  are  still  handed  down  from  generation 
to  generation.  But  in  modern  conditions  of  life  they  are 
remembered  more  and  more  imperfectly  and  finally  not 
at  all.  Happily  for  us,  the  collectors  came  along  and 
wrote  down  for  us  many  of  the  good  old  ballads  while  yet 
someone  remained  here  and  there  to  sing  them.  How 
many  equally  good  ballads  were  lost,  we  can  of  course 
never  know. 

To  what  extent  such  a  ballad  as  The  Twa  Sisters  repre- 
sents communal  composition,  no  one  can  say.  For  no 
one  has  ever  seen  a  given  ballad  grow  from  Botocudan 
simplicity  to  a  well-ordered  narrative  that  could  stand 


Where  the  Folk  Got  Its  Ballads  xxix 

by  itself,  without  music  and  dance.  The  account  given 
above  is  a  general  account  pieced  out  by  Gummere  and 
other  scholars  from  innmnerable  known  facts.  In  nearly 
all  the  traditional  ballads  in  this  little  book  there  are 
hints  and  suggestions  of  the  ordering  hand  of  some  in- 
dividual mind,  and  in  a  few  instances  that  mind  was  the 
mind  of  a  poet.  But  though  the  communal  throng  is 
somewhat  or  even  very  far  in  the  background,  it  is  still 
discernible.  It  formed  and  conserved  the  traditions  of 
style,  method,  and  content,  even  where  the  particular 
ballad  seems  impossible  of  achievement  as  a  true  com- 
munal composition.  The  singing,  dancing  throng  is  a 
fact.  What  a  recent  poet  has  claimed  for  himself  with 
audacity,  it  could  claim  for  itself  quite  simply: 

For  I  who  hear  am  he  who  sings; 

And  what  is  sung,  that  too  is  Me; 

For  I  am  one  and  yet  am  three, — 
The  listener,  singer,  and  the  strings. 

William  Rufus  Perkins:  Eleiisis. 

But  for  communal  cooperation.  The  Twa  Sisters,  The 
Cruel  Brother,  etc.,  would  have  been  far  different  things 
from  what  we  have  here  printed.  Certain  it  is  that  no 
known  poet  has  ever  succeeded  in  producing  a  ballad 
that  could  pass  for  genuine  tradition.  Percy  almost  suc- 
ceeded in  producing  "missing"  stanzas.  Scott  almost 
succeeded  in  whole  ballads.  But  somewhere  there  always 
remained  the  thumb-print  of  the  conscious  artist,  the 
personal  touch  of  the  lord  of  song,  who,  however  much 
he  might  be  one  with  his  people,  still  sat  apart  on  the  dais 
at  the  upper  end  of  the  long  hall. 


XXX  Introduction 

IV 

Ballad  Themes  and  Ballad  Distribution 

The  stories  told  in  the  old  ballads  fall  quite  naturally 
into  certain  groups,  which  reflect  the  life  and  interests  of 
people  living  together  in  clans  or  similar  close  social  groups. 
This  grouping  can  better  be  studied  in  a  larger  collection. 
But  a  careful  review  of  our  ballads  with  regard  to  the 
following  (fairly  complete)  classification  will  show:  first, 
that  every  head  is  represented  by  at  least  one  of  our  bal- 
lads; and  secondly,  that  every  one  of  our  ballads  can  be 
referred  to  one  of  the  heads. 

1.  Ballads  of  the  dance. 

2.  Riddle  ballads;  wit  contests. 

3.  Domestic  tragedy;  bride-stealing;  the  bad  mother-in-law  or 
stepmother;  conflict  of  duties  or  of  duty  and  interest. 

4.  Loyalty  and  treachery. 

5.  Coronach,  or  Lament  for  the  dead. 

6.  Last  good-night. 

7.  Fairies,  spells,  and  transformation. 

8.  Return  of  the  dead. 

9.  Legend;  biblical  and  classical  stories;  romances. 

10.  Border  raids;  battles  and  other  historical  events. 

11.  Outlaws  and  life  in  the  greenwood. 

The  oldest  ballads,  those  in  two-line  stanzas,  come 
mostly  under  the  first  three  or  four  heads.  Ballads  of  the 
ninth  group  are  stories  of  outside  origin  which  the  folk 
has  made  its  own.  Historical  ballads  are  late  and  often 
on  the  dividing  line  between  popular  poetry  and  the  poetry 
of  art.  In  other  words,  any  such  classification  as  we  have 
attempted,  lends  emphasis  and  point  to  what  we  have 
already  said  about  the  characteristics  of  ballads  and  the 
origin  and  development  of  ballads. 


Ballad  Themes  and  Ballad  Distribution    xxxl 

Additional  light  comes  from  the  study  of  the  ballads  of 
other  countries.  In  Scandinavia,  Germany,  France, 
Italy,  Servia,  Russia,  all  over  Europe  and  beyond,  we 
find  many  of  the  same  stories  told  in  the  same  way,  in 
dance-songs  with  refrain,  with  incremental  repetition, 
dialogue,  abrupt  transitions;  and  everywhere  we  see  the 
ballads  becoming  poorer  and  weaker  as  civilization  breaks 
up  the  old  communal  life.  Literature  follows  fashions, 
but  ballads  do  more,  they  constitute  a  part  of  the  custom 
of  the  people,  a  part  of  that  which  binds  a  people  together. 
Literature  belongs  to  the  refinements  of  life,  ballads  at 
the  time  of  their  most  vigorous  growth  are  a  part  of  life 
itself. 

The  study  of  ballad  distribution  is  far  beyond  the  scope 
of  this  little  volume.  A  few  illustrative  facts  are  given 
in  the  notes  on  The  Cruel  Brother,  The  Twa  Sisters,  Bonnie 
Wee  Croodlin  Dow,  and  The  Devil  and  the  Girl.  The  whole 
matter  is  summed  up,  incisively  and  suggestively,  by 
Andrew  Lang  in  Ward's  English  Poets. 

We  cannot  arrange  them  by  date  of  composition,  for,  while  the 
plots  and  situations  are  often  of  immemorial  age,  the  language  is 
sometimes  that  of  the  last  century.  .  .  .  About  the  authors  of  the 
ballads,  and  their  historical  date,  we  know  nothing.  Like  the  Volks- 
lieder  of  other  European  countries,  the  popular  poems  of  England  were 
composed  by  the  people  for  the  people.  Again,  the  English  ballads, 
and  those  of  the  Lowland  Scotch,  deal  with  topics  common  to  the 
peasant  singers  of  Denmark,  France,  Greece,  Italy,  and  the  Slavonic 
countries.  The  wide  distribution  of  these  topics  is,  Kke  the  distribu- 
tion of  marchen  or  popular  tales,  a  mark  of  great  antiquity.  We 
cannot  say  when  they  originated,  or  where,  or  how;  we  only  know 
that,  in  one  shape  or  other,  the  themes  of  romantic  ballads  are  very 
ancient.  There  are  certain  incidents,  like  that  of  the  return  of  the 
dead  mother  to  her  oppressed  children;  like  the  sudden  recovery  of 
a  fickle  bridegroom's  heart  by  the  patient  affection  of  his  first  love, 
like  the  adventure  of  May  Colvin  with  a  lover  who  has  slain  sevcu 


xxxii  Introduction 

women,  and  tries  to  slay  her;  like  the  story  of  the  bride  who  pretends 
to  be  dead  that  she  may  escape  from  a  detested  marriage,  wliich  are 
in  all  European  countries  the  theme  of  popular  song.  Again,  the 
pastimes  and  labors  of  the  husbandmen  and  shcpherd[s]  were,  long 
ago,  a  kind  of  natural  opera.  Each  task  had  its  old  song, — ploughing, 
harvest,  seed-time,  marriage,  burial,  had  appropriate  ballads  or 
dirges.  Aubrey,  the  antiquary,  mentions  'a  song  sung  in  the  ox- 
house  when  they  wassel  the  oxen.'  .  .  .  Further,  each  of  the  rural 
dance-tunes  had  its  ballad-accompaniment,  and  the  dance  was  some- 
times a  rude  dramatic  representation  of  the  action  described  in  the 
poem.  Many  of  the  surviving  volks-licdcr  are  echoes  from  the  music 
of  this  idyllic  world  of  dance  and  song  from  the  pleasant  England 
in  which 

"  When  Tom  came  home  from  labor. 

And  Cis  from  milking  rose, 
Merrily  went  the  tabor. 

And  merrily  went  their  toes." 


Meter  and  Style 

First  a  word  of  warning.  Ballad  verse  is  not  smooth 
and  measured;  it  even  suggests  doggerel.  But  these  first 
impressions  should  be  ignored;  and  they  are  quickly  for- 
gotten when  the  ballads  are  read  right. 

Ballads  must  be  read  with  strong  animation,  suggesting 
rather  the  shouts  on  the  play-ground  than  the  subdued 
conversation  about  the  tea  table.  Metrically  this  will 
mean  strong  stress  on  the  accented  syllables  and  in  con- 
sequence a  strongly  marked  rhythm.  So  strong  is  the 
rhythm  that  an  unaccented  syllable  more  or  less  does  not 
signify.    The  total  effect  is  one  of  life  and  vigor. 

Ballad  Stanza.  The  ballad  stanza  technically  so  called 
consists  of  four  lines,  the  first  and  third  with  four  stresses, 
the  second  and  fourth  with  three;  the  second  and  fourth 
line  rime.   The  ballad  stanza  is  essentially  the  same  stanza 


Meter  and'  Style  xxxiii 

as  the  common  meter  of  the  hymn-books.  On  the  de- 
velopment of  the  ballad  stanza  out  of  the  two-line  stanza 
of  the  oldest  ballads,  see  the  section  on  the  refrain  (p.  xiii). 

Either  the  ballad  stanza  or  the  older  two-line  stanza 
may  be  swelled  to  six  lines  with  the  aid  of  refrain  and 
repetition;  and  here  again  refrain  and  repetition  give  rise 
to  full  verses.  But  stanzas  of  six  verses  are  rare.  Other 
occasional  forms  are:  a  stanza  Hke  the  long  meter  of  the 
hymnals,  i.  e.,  four  lines  of  four  stresses  each;  and  the 
jingling  nursery  stanza  of  four  three-stressed  lines. 

Rime.  The  ballad  stanza  rimes  the  second  and  fourth 
verse;  occasionally  there  is  internal  rime  in  the  third  line, 
rarely  are  the  first  and  third  Hnes  rimed.  Rime  is  often, 
especially  in  the  oldest  ballads,  of  the  kind  known  as 
vowel  rime,  or  assonance.  In  a  few  instances  the  rime  is 
quite  wanting. 

Style  and  Diction.  Both  style  and  diction  are  almost 
bare  of  ornament.  The  language  holds  close  to  the  every- 
day speech  of  the  people  who  sang  the  ballads.  Each 
line  is  generally  a  clause,  and  the  sentence  pause  comes 
at  the  end  of  the  stanza  or  both  at  the  middle  and  the 
end.  There  are  few  figures  and  almost  no  inversions. 
Even  alliteration,  so  essential  to  Old  English  verse,  occurs 
only  (as  in  proverbs)  in  set  phrases,  never  as  a  conscious 
embellishment. 

But  diction  and  style  of  ballads,  if  somewhat  bare, 
have  the  qualities  of  simplicity  and  naturalness,  straight- 
forwardness and  concreteness.  These  are  the  qualities 
Wordsworth  admired  and  imitated,  to  be  in  turn  imitated 
by  Tennyson,  in  his  Dora.  Burns,  Scott,  Longfellow, 
Whittier,  Kipling,  and  Riley  have  all  been  afifected,  in- 
directly if  not  directly,  by  the  homely  appeal  of  ballad 
Style  and  diction. 


xxxiv  Introduction 

VI 

The  Scotch  Dialect 

Our  best  ballads  come  from  Scotland.  They  therefore 
contain  a  considerable  number  of  words  and  forms  that 
are  strange  to  us.  These  are  all  explained  in  the  notes 
and  glossary.  But  if  the  student  will  learn  the  following 
rules  and  word-lists,  he  will  need  to  look  up  only  one  word 
in  the  glossary  where  he  would  otherwise  have  to  look  up 
several: 

1.  a  for  o:  sae  for  so,  mair  for  more. 

2.  k  (or  hard  c)  for  ch:  sic  for  sich  (such),  kirk  for  church. 

3.  i  is  often  a  mark  of  vowel  length;  dois  should  be  pronounced 
dose,  not  doys. 

4.  die,  eye,  high,  etc.,  are  pronounced  dee,  ee,  hee,  etc.,  and  often 
so  spelled. 

5.  Consonants  are  lost  in: 

(a)  hae  for  have,  taen  for  taken; 

(b)  a',  ha',  fa',  etc.,  for  all,  hall,  fall,  etc. 

VII 

How  TO  Study  the  Ballads 

Story.  Is  there  a  plot  or  only  a  situation?  If  the  latter, 
what  plot  is  suggested?  Is  the  situation  developed,  or 
merely  emphasized  by  reiteration,  contrast,  or  climax? 
Are  the  characters  individual  or  typical?  Are  the  motives 
clear  or  implied?  Is  there  a  setting?  Are  the  beginning, 
ending,  and  transitions  abrupt? 

Ballad  Characteristics.  Point  out  refrain,  incremental 
(and  other)  repetition,  dialogue,  leaping  and  lingering. 
Are  any  of  these  particularly  well  marked  in  the  given 


How  to  Study  the  Ballads  xxxv 

ballad?  Which  seems  to  you  to  suggest  the  best  reason 
for  calling  the  given  ballad  a  popular  ballad?  Point  out 
instances  where  any  of  these  characteristics  seem  to  be 
meaningless,  or  nearly  so — employed  just  to  keep  the 
song  moving.  Point  out  other  instances  where  any  of 
them  helps  the  story  along — emphasizing  a  point  by 
climax  or  contrast,  suggesting  the  tone  or  character  of 
the  story,  indicating  pauses  or  changes,  etc. 

Ask  yourself  similar  questions  as  regards  the  employ- 
ment of:  three  questions,  three  colors,  three  gifts,  three 
similar  characters,  etc.,  two  (or  three)  horses,  gold  and 
silver,  birth  and  breeding  of  the  hero  or  heroine,  the  ballad 
testament,  other  commonplaces. 

Presentation.  Point  out  any  hint  that  the  given  ballad 
may  have  been  a  dance-song  (such  hints  are  few);  any 
hint  that  it  was  sung;  anything  that  suggests  an  individual 
singer  or  reciter  or  a  chorus.  Riddles  were  probably 
asked  and  answered  in  a  mere  dance-game,  i.  e.,  without 
a  story:  can  you  find  any  other  ballad  in  which  you  be- 
lieve the  story  was  perhaps  of  later  invention?  Give 
reasons  for  your  belief. 

Literary  Touches.  Introductory,  explanatory,  and  de- 
scriptive stanzas  are  often  later  additions;  they  often 
contain  words  or  phrases  that  suggest  written  composition 
or  the  self-consciousness  of  someone  through  whose  hands 
the  ballad  has  passed.  Look  for  illustrations  of  these 
facts. 

Make  a  good,  connected  prose  story  using  the  plot 
or  situation  of  some  ballad  as  a  basis. 

Clip  a  news  story  from  some  paper  and  show  how  it 
might  be  treated  in  a  ballad. 

Compare  the  narrative  method  of  some  ballad  with 
that  of  some  other  story.    Compare  the  narrative  method 


xxxvi  Introduction 

of  a  group  of  ballads  with  the  method  of  some  narrative 
writer:  Scott,  Longfellow,  Irving,  Hawthorne,  Poe,  Kip- 
ling, etc. 

Folklore.  What  can  you  learn  from  our  ballads  about: 
the  belief  as  regards  the  dead;  paradise;  the  binding  force 
of  the  troth-plight;  spells  and  charms  and  their  effective- 
ness; dead-naming;  various  kinds  of  supernatural  beings; 
beliefs  about  animate  and  inanimate  nature;  other  beliefs; 
curious  customs?  Do  you  find  any  distinctly  Christian 
or  heathen  beliefs? 

Comparative  Study.  Older  students,  even  in  high 
schools,  can  profitably  compare  different  versions  of  certain 
ballads.  The  one- volume  Child  contains  sufficient  ma- 
terial for  such  study  and  should  be  accessible  where  ballads 
are  studied  in  high  schools.  The  aim  of  such  study  should 
be  to  show  change  from  dance-song  to  story,  the  loss  or 
blurring  of  features  of  a  ballad,  the  introduction  of  new 
features,  the  welding  of  two  or  more  ballad  stories  into  one, 
the  indications  of  literary  touches,  the  general  differences 
between  genuine  oral  tradition  and  broadsides,  the  general 
character  of  Mrs.  Brown's  versions,  Percy's,  Scott's, 
Buchan's,  etc. 


DESCRIPTIVE  BIBLIOGRAPHY 

Two  books  should  be  in  every  high  school  library:  Sargent 
and  Kittredge's  English  and  Scottish  Popular  Ballads  and 
Gummere's  The  Popular  Ballad,  both  pubhshed  by  Houghton 
Milflin  Company,  Boston. 

Sargent  and  Kittredge's  edition  is  often  referred  to  as  the 
one-volume  Child  (see  p.  xx).  It  contains  300  of  the  305 
ballads  in  Child's  great  collection,  and  where  there  are  two  or 
more  versions  it  contains  the  most  striking  ones.  With  each 
ballad  is  given  a  generous  extract  from  Professor  Child's  edi- 
torial matter.  In  the  appendix  are  contained  notes,  a  list  of 
sources,  and  a  glossary  by  Professor  Allan  Neilson.  Professor 
Kittredge  has  prefixed  a  suggestive  and  illuminating  account 
of  ballad  collecting  and  ballad  theories.  The  whole  is  thus  an 
indispensable  handbook  for  the  serious  student. 

Professor  Gummere's  book  is  the  first  volume  in  the  series 
of  Types  of  Literature  edited  by  Professor  Allan  Neilson.  It 
presents  to  the  general  reader  an  account  of  his  theory  of  bal- 
lads and  his  plea  for  a  "definition  by  origins,"  together  with 
delightful  criticism  of  the  ballads  themselves.  The  first  part 
is  based  upon  his  Beginnings  of  Poetry  (Macmillan  Co.,  New 
York),  which  is  a  technical  discussion  intended  for  the  specialist. 
Professor  Gummere  has  also  issued  a  selection  of  the  ballads 
with  notes  and  a  learned  introduction,  Old  English  Ballads 
(Athenaeum  Press:  Ginn  and  Company,  Boston),  and  has  con- 
tributed the  chapter  on  the  ballads  to  the  Cambridge  History 
of  Literature  (XIV  volumes,  G.  P.  Putnam's  Sons,  New  York). 

The  Ballad  in  Literature  by  T.  F.  Henderson  {Cambridge 
Manuals  of  Literature)  is  a  convenient  summary  of  the  views 
of  those  opposed  to  Gummere's  theory. 

An  account  of  the  Danish  ballads,  somewhat  on  the  lines  of 


xxxviii  Descriptive  Bibliography 

the  first  named  book  of  Gummere's,  is  now  available  in  The 
Medieval  Popular  Ballad  (Ginn  &  Co.,  Boston),  translated 
from  the  Danish  of  Professor  Steenstrup  by  Prof essor  Edward  G. 
Cox  of  the  University  of  Washington.  It  is  however  written 
in  a  less  popular  vein  than  Gummere's  The  Popular  Ballad^ 
and  will  interest  chiefly  the  advanced  student. 

Percy's  Reliqucs  and  Scott's  Minstrelsy  of  the  Scottish  Border 
(pp.  xix-xx)  are  still  deservedly  popular  and  are  obtainable 
in  various  editions.  The  standard  library  editions  are  that 
of  the  Reliques  by  H.  B.  W.  Wheatley  in  three  volumes  (Swan 
Sonnenschein  &  Co.,  London)  and  that  of  the  Minstrelsy  by 
T.  F.  Henderson  in  four  volumes  (Chas.  Scribner's  Sons,  New 
York). 

Of  the  popular  collections  the  most  satisfactory  in  many 
ways  is  that  in  the  Everyman's  Series  made  by  R.  Brimley 
Johnson,  entitled  A  Book  of  British  Ballads.  It  contains  both 
traditional  and  literary  ballads  and  also  a  number  of  "peasant 
ballads." 

A  valuable  collection,  of  especial  interest  to  Americans, 
Cowboy  Songs  and  other  Frontier  Ballads  (Sturgis  &  Walton, 
New  York),  has  been  made  by  Professor  John  A.  Lomax  of 
the  University  of  Texas.  Professor  Lomax  is  also  a  successful 
collector  of  Negro  "reels"  and  "spirituals,"  as  the  Negroes 
themselves  call  their  ballads,  secular  and  spiritual  respectively. 
Fortunately  Professor  Lomax  has  been  able  to  get  phonographic 
records  of  the  actual  singing  of  many  of  these  ballads. 

Survivals  of  balladry  and  other  folk  customs  can  best  be 
studied  in  the  suggestive  and  interesting  volume  by  William  W. 
Newell,  Games  and  Songs  of  American  Children,  published  by 
Harper  &  Brothers.  In  connection  with  Newell  may  be  read 
Alastair  St.  Clair  Mackenzie's  Evolution  of  Literature  (Thomas 
Y.  Crowell  &  Co.,  New  York),  which  covers  in  a  more  popular 
way  much  the  same  ground  as  Gummere's  Beginnings  of 
Poetry  and  Jane  Ellen  Harrison's  Ancient  Art  and  Ritual  (Home 
University  Library,  Henry  Holt  and  Company,  New  York;  see 
page  XX v). 


OLD  BALLADS 


BABY  LON 

1  There  were  three  ladies  lived  in  a  bower, 

Eh  vow  bonnie 
And  they  went  out  to  pull  a  flower. 
On  the  bonnie  banks  o'  Fordie 

2  They  hadna  pu'ed  a  flower  but  ane, 
When  up  started  to  them  a  banisht  man. 

3  He's  ta'en  the  first  sister  by  her  hand, 

And  he's  turned  her  round  and  made  her  stand. 

4  "It's  whether  will  ye  be  a  rank  robber's  wife, 
Or  will  ye  die  by  my  wee  pen-knife?  " 

5  "It's  I'll  not  be  a  rank  robber's  wife, 

But  I'll  rather  die  by  your  wee  pen-knife." 

6  He's  killed  this  may,  and  he's  laid  her  by. 
For  to  bear  the  red  rose  company. 

7  He's  taken  the  second  ane  by  the  hand, 

And  he's  turned  her  round  and  made  her  stand. 

8  "It's  whether  will  ye  be  a  rank  robber's  wife. 
Or  will  ye  die  by  my  wee  pen-knife?" 

9  "I'll  not  be  a  rank  robber's  wife, 

But  I'll  rather  die  by  your  wee  pen-knife." 

I 


Old  Ballads 

10  He's  killed  this  may,  and  he's  laid  her  by, 
For  to  bear  the  red  rose  company. 

11  He's  taken  the  youngest  ane  by  the  hand, 
And  he's  turned  her  round  and  made  her  stand. 

12  Says,  "Will  ye  be  a  rank  robber's  wife, 
Or  will  ye  die  by  my  wee  pen-knife?  " 

13  "I'll  not  be  a  rank  robber's  wife, 
Nor  will  I  die  by  your  wee  pen-knife. 

14  "For  I  hae  a  brother  in  this  wood, 
And  gin  ye  kill  me,  it's  he'll  kill  thee." 

15  "What's  thy  brother's  name?  come  tell  to  me." 
"My  brother's  name  is  Baby  Lon." 

16  "O  sister,  sister,  what  have  I  done! 
O  have  I  done  this  ill  to  thee! 

17  "O  since  I've  done  this  evil  deed, 
Good  sail  never  be  seen  o'  me." 

18  He's  taken  out  his  wee  pen-knife, 

And  he's  twined  himsel'  o'  his  ain  sweet  life. 


THE  CRUEL  BROTHER 

1  A  GENTLEMAN  came  o'er  the  sea, 

Fine  flowers  in  the  valley 
And  he  has  courted  ladies  three 

With  the  light  green  and  the  yellow. 

2  One  0'  them  was  clad  in  red: 
He  asked  if  she  wad  be  his  bride. 


The  Cruel  Brother 

3  One  o'  them  was  clad  in  green: 
He  asked  if  she  wad  be  his  queen. 

4  The  last  o'  them  was  clad  in  white: 

He  asked  if  she  wad  be  his  heart's  delight. 

5  "Ye  may  gae  ask  my  father,  the  king: 
Sae  maun  ye  ask  my  mither,  the  queen. 

6  "Sae  maun  ye  ask  my  sister  Anne: 
And  dinna  forget  my  brither  John." 

7  He  has  asked  her  father,  the  king: 
And  sae  did  he  her  mither,  the  queen. 

8  And  he  has  asked  her  sister  Anne: 
But  he  has  forgot  her  brither  John. 

9  Her  father  led  her  through  the  ha', 
Her  mither  danced  afore  them  a'. 

10  Her  sister  Anne  led  her  through  the  closs, 
Her  brither  John  set  her  on  her  horse. 

11  It's  then  he  drew  his  little  penknife, 
And  he  reft  the  fair  maid  of  her  life. 

12  "Ride  up,  ride  up,"  said  the  foremost  man; 
"I  think  our  bride  comes  hooly  on." 

13  "Ride  up,  ride  up,"  said  the  second  man; 
"I  think  our  bride  looks  pale  and  wan." 

14  Up  then  came  the  gay  bridegroom. 
And  straucht  unto  the  bride  he  came. 

15  "Does  your  side-saddle  sit  awry? 
Or  does  your  steed  .  .  . 


Old  Ballads 

i6  "Or  does  the  rain  run  in  your  glove? 
Or  wad  ye  chuse  anither  love?" 

17  "The  rain  runs  not  in  my  glove, 
Nor  will  I  e'er  chuse  anither  love. 

18  "But  O  an  I  war  at  Saint  Evron's  well, 
There  I  wad  licht,  and  drink  my  fill! 

19  "Oh  an  I  war  at  Saint  Evron's  closs, 
Ther  I  wad  licht,  and  bait  my  horse! " 

20  Whan  she  came  to  Saint  Evron's  well, 
She  dought  na  licht  to  drink  her  fill. 

21  Whan  she  cam  to  Saint  Evron's  closs, 
The  bonny  bride  fell  aff  her  horse. 

22  "What  will  ye  leave  to  your  father,  the  king?" 
"The  milk-white  steed  that  I  ride  on." 

23  "What  will  ye  leave  to  your  mot'.icr,  the  queen?" 
"The  bluidy  robes  that  I  have  on." 

24  "What  will  ye  leave  to  your  sister  Anne?" 
"My  guid  lord,  to  be  wedded  on." 

25  "What  will  ye  leave  to  your  brither  John?" 
"The  gallows  pin  to  hang  him  on." 

26  "What  will  ye  leave  to  your  brither's  wife?" 
"Grief  and  sorrow  a'  the  days  o'  her  life." 

27  "What  will  ye  leave  to  your  brither's  bairns?" 
"The  meal-pock  to  hang  o'er  their  arms." 

28  Now  doth  she  neither  sigh  nor  groan: 
She  lies  aneath  yon  marble  stone. 


The  Twa  Sisters 


THE  TWA  SISTERS 

1  There  was  twa  sisters  in  a  bower, 

Edinburgh,  Edinburgh 
There  was  twa  sisters  in  a  bower, 

Stirling  for  aye 
There  was  twa  sisters  in  a  bower, 
There  came  a  knight  to  be  their  wooer. 

Bonny  Saint  Johnston  stands  upon  Tay 

2  He  courted  the  eldest  wi'  glove  an'  ring, 
But  he  loved  the  youngest  above  a'  thing. 

3  He  courted  the  eldest  wi'  brooch  an'  knife, 
But  loved  the  youngest  as  his  life; 

4  The  eldest  she  was  vexed  sair, 
An'  much  envied  her  sister  fair; 

5  Into  her  bower  she  could  not  rest, 
Wi'  grief  an'  spite  she  almost  brast. 

6  Upon  a  morning  fair  an'  clear 
She  cried  upon  her  sister  dear: 

7  "  O  sister  come  to  yon  sea-stran', 

And  see  our  father's  ships  come  to  Ian'." 

8  She's  ta'en  her  by  the  milk-white  han', 
And  led  her  down  to  yon  sea-stran'. 

9  The  youngest  stood  upon  a  stane, 
The  eldest  came  an'  threw  her  in; 

lo  She  took  her  by  the  middle  sma', 
An'  dashed  her  bonny  back  to  the  jaw; 


Old  Ballads 

11  "O  sister,  sister,  take  my  han', 

An  I'se  make  you  heir  to  a'  my  Ian'. 

12  "O  sister,  sister,  take  my  middle, 

And  ye's  get  my  goud  and  my  gouden  girdle. 

13  "O  sister,  sister,  save  my  life. 

And  I  swear  I'se  never  be  nae  man's  wife." 

14  "Foul  fa'  the  han'  that  I  should  take, 
It  twinned  me  an'  my  wardle's  make. 

15  "Your  cherry  cheeks  and  yallow  hair, 
Gars  me  gae  maiden  for  evermair." 

16  Sometimes  she  sank,  an'  sometimes  she  swam, 
Till  she  came  down  yon  bonny  mill-dam. 

17  O  out  it  came  the  miller's  son. 
An'  saw  the  fair  maid  swimmin'  in. 

iS  "O  father,  father,  draw  your  dam! 
Here's  either  a  mennaid,  or  a  swan." 

19  The  miller  quickly  drew  the  dam. 
An'  there  he  found  a  drowned  woman; 

20  You  couldna  see  her  yallow  hair. 

For  goud  and  pearl  that  were  sae  rare; 

21  You  couldna  see  her  middle  sma', 
For  gouden  girdle  that  was  sae  braw; 

22  Ye  couldna  see  her  fingers  white 
For  gouden  rings  that  was  sae  gryte. 


Edward 

23  An'  by  there  came  a  harper  fine, 
That  harped  to  the  king  at  dine. 

24  When  he  did  look  that  lady  upon, 
He  sighed  and  made  a  heavy  moan; 

25  He's  ta'en  three  locks  o'  her  yallow  hair, 
And  wi'  them  strung  his  harp  sae  fair. 

26  The  first  tune  he  did  play  and  sing 
Was — "Farewell  to  my  father  the  king." 

27  The  nexten  tune  that  he  played  syne 
Was — "Farewell  to  my  mother  the  queen.' 

28  The  lasten  tune  that  he  played  then 
Was — "Wae  to  my  sister,  fair  Ellen!" 


EDWARD 

t  "Why  dois  your  brand  sae  drap  wi'  bluid, 
Edward,  Edward, 
Why  dois  your  brand  sae  drap  wi'  bluid, 

And  why  sae  sad  gang  ye  O?" 
"01  hae  killed  my  hawk  sae  guid, 

Mither,  Mither, 
O  I  hae  killed  my  hawk  sae  guid, 
And  I  had  nae  mair  but  he  O." 

2  "Your  hawkis  bluid  was  never  sae  reid, 
Edward,  Edward, 
Your  hawkis  bluid  was  never  sae  reid, 
My  deir  son,  I  tell  thee  O." 


8  Old  Ballads 

"01  hae  killed  my  reid-roan  steid, 

Mither,  Mither, 
O  I  hae  killed  my  reid-roan  steid, 

That  erst  was  sae  fair  and  free  O." 

3  "Your  steid  was  auld,  and  ye  hae  gat  mair, 

Edward,  Edward, 
Your  steid  was  auld,  and  ye  hae  gat  mair. 

Some  other  dule  ye  dree  O." 
"01  hae  killed  my  fader  deir, 

Mither,  Mither, 
O  I  hae  killed  my  fader  deir, 
Alas,  and  wae  is  me  O." 

4  "And  whatten  penance  wull  ye  dree  for  that, 

Edward,  Edward, 
And  whatten  penance  wull  ye  dree  for  that? 

My  deir  son,  now  tell  me  O." 
"I'll  set  my  feit  in  yonder  boat, 

Mither,  Mither, 
I'll  set  my  feit  in  yonder  boat. 
And  I'll  fare  over  the  sea  O." 

5  "And  what  wull  ye  do  wi'  your  towers  and  your  ha', 

Edward,  Edward, 
And  what  wull  ye  do  wi'  your  towers  and  your  ha'. 

That  were  sae  fair  to  see  O?  " 
"I'll  let  them  stand  tul  they  down  fa', 

Mither,  Mither, 
I'll  let  them  stand  tul  they  down  fa', 
For  here  never  mair  maun  I  be  O." 

6  "And  what  wull  ye  leive  to  your  bairns  and  your  wife, 

Edward,  Edward, 
And  what  wull  ye  leive  to  your  bairns  and  your  wife. 
Whan  ye  gang  over  the  sea  0?  " 


The  Bonnie  Wee  Croodlin  Dow 

"The  warldis  room,  late  them  beg  thrae  Hfe, 

Mither,  Mither, 
The  warldis  room,  late  them  beg  thrae  life, 
For  them  never  mair  wuU  I  see  O." 

7  "And  what  wull  ye  leive  to  your  ain  mither  deir, 
Edward,  Edward, 
And  what  wull  ye  leive  to  your  ain  mither  deir? 

My  deir  son,  now  teU  me  O." 
"The  curse  of  hell  frae  me  ye  sail  beir, 

Mither,  Mither, 
The  curse  of  hell  frae  me  ye  sail  beir. 
Sic  counseUs  ye  gave  to  me  O." 


THE  BONNIE  WEE  CROODLIN  DOW 

1  "0  WHARE  hae  ye  been  a'  day,  my  bonnie  wee  croodlin  dow? 
O  whare  hae  ye  been  a'  day,  my  bonnie  wee  croodlin  dow?  " 
"I've  been  at  my  step-mother's;  oh  mak  my  bed,  mammie, 

now ! 
I've  been  at  my  step-mother's;  oh  mak  my  bed,  mammie, 
now!" 

2  "O  what  did  ye  get  at  your  step-mother's,  my  bonnie  wee 

croodlin  dow? 

0  what  did  ye  get  at  your  step-mother's,  my  bonnie  wee 

croodlin  dow?" 
"I  gat  a  wee,  wee  fishie;  oh  mak  my  bed,  mammie,  now! 

1  gat  a  wee,  wee  fishie;  oh  mak  my  bed,  mammie,  now!" 

3  "0  whare  gat  she  the  wee  fishie,  my  bonnie  wee  croodlin  dow? 
0  whare  gat  she  the  wee  fishie,  my  bonnie  wee  croodlin  dow?  " 
"In  a  dub  before  the  door;  oh  mak  my  bed,  mammie,  now! 
In  a  dub  before  the  door;  oh  mak  my  bed,  mammie,  now!" 


10  Old  Ballads 

4  "What  did  ye  wi'  the  wee  fishie,  my  bonnie  wee  croodlin  dow? 
What  did  ye  wi'  the  wee  fishie,  my  bonnie  wee  croodlin  dow?  " 
"I  boUd  it  in  a  wee  pannic;  oh  mak  my  bed,  mammie,  now! 

I  boild  it  in  a  wee  pannic;  oh  mak  my  bed,  mammie,  now! " 

5  "Wha  gied  ye  the  banes  o'  the  fishie  till,  my  bonnie  wee 

croodlin  dow? 

Wha  gied  ye  the  banes  o'  the  fishie  till,  my  bonnie  wee  crood- 
lin dow?" 

"I  gied  them  tUl  a  wee  doggie;  oh  mak  my  bed,  mammie,  now! 

I  gied  them  till  a  wee  doggie;  oh  mak  my  bed,  mammie,  now! 

6  "O  whare  is  the  little  wee  doggie,  my  bonnie  wee  croodlin 

dow? 

O  whare  is  the  little  wee  doggie,  my  bonnie  wee  croodlin 
dow?" 

"It  shot  out  its  fit  and  died,  and  sae  maun  I  do  too; 

Oh  mak  my  bed,  mammie,  now,  now,  oh  mak  my  bed,  mam- 
mie, now!" 

THE  DOUGLAS  TRAGEDY 

1  "Rise  up,  rise  up,  now,  Lord  Douglas,"  she  says, 

"And  put  on  your  armor  so  bright; 
Let  it  never  be  said  that  a  daughter  of  thine 
Was  married  to  a  lord  under  night. 

2  "Rise  up,  rise  up,  my  seven  bold  sons, 

And  put  on  your  armor  so  bright, 
And  take  care  of  your  younger  sister. 
For  your  eldest 's  away  the  last  night." 

3  He's  mounted  her  on  a  milk-white  steed, 

And  himself  on  a  dapple  gray. 
With  a  bugelct  horn  hung  down  by  his  side, 
And  lightly  they  rode  away. 


The  Douglas  Tragedy  11 

4  Lord  William  looked  o'er  his  left  shoulder, 

To  see  what  he  could  see, 
And  there  he  spied  her  seven  brethren  bold 
Come  riding  over  the  lea. 

5  "Light  down,  light  down,  Lady  Margaret,"  he  said, 

"And  hold  my  steed  in  your  hand. 
Until  that  against  your  seven  brethren  bold, 
And  your  father,  I  make  a  stand." 

6  She  held  his  steed  in  her  milk-white  hand, 

And  never  shed  one  tear. 
Until  that  she  saw  her  seven  brethren  fall, 
And  her  father  hard  fighting,  who  loved  her  so  dear. 

7  "O  hold  your  hand.  Lord  WUliam,"  she  said, 

"For  your  strokes  they  are  wondrous  sore; 
True  lovers  I  can  get  many  a  one. 
But  a  father  I  can  never  get  more." 

8  0  she's  ta'en  out  her  handkerchief, 

It  was  o'  the  holland  so  fine, 
And  aye  she  dighted  her  father's  bloody  wounds. 
That  were  redder  than  the  wine, 

9  "O  choose,  O  choose.  Lady  Margaret,"  he  said, 

"O  whether  will  ye  gang  or  bide?" 
"I'll  gang,  I'll  gang,  Lord  William,"  she  said, 
"For  ye  have  left  me  no  other  guide." 

lo  He's  lifted  her  on  a  milk-white  steed, 
And  himself  on  a  dapple  gray, 
With  a  bugelet  horn  hung  down  by  his  side, 
And  slowly  they  both  rode  away. 


12  Old  Ballads 

11  O  they  rode  on,  and  on  they  rode, 

And  a'  by  the  Hght  of  the  moon, 
Until  they  came  to  yon  wan  water, 
And  there  they  Ughted  down. 

12  They  Kghted  down  to  take  a  drink 

Of  the  spring  that  ran  so  clear, 
And  down  the  stream  ran  his  good  heart's  blood, 
And  sore  she  gan  to  fear. 

13  "Hold  up,  hold  up.  Lord  William,"  she  says, 

" For  I  fear  that  you  are  slain;" 
"  'T  is  nothing  but  the  shadow  of  my  scarlet  cloak. 
That  shines  in  the  water  so  plain." 

14  O  they  rode  on,  and  on  they  rode, 

And  a'  by  the  light  of  the  moon. 
Until  they  came  to  his  mother's  hall  door. 
And  there  they  lighted  down. 

15  "Get  up,  get  up,  lady  mother,"  he  says, 

"Get  up,  and  let  me  in! 
Get  up,  get  up,  lady  mother,"  he  says, 
"  For  this  night  my  fair  lady  I've  win. 

16  "0  make  my  bed,  lady  mother,"  he  says, 

"And  make  it  broad  and  deep. 
And  lay  Lady  Margaret  close  at  my  back, 
And  the  sounder  I  will  sleep." 

17  Lord  William  was  dead  long  ere  midnight, 

Lady  Margaret  long  ere  day, 
And  all  true  lovers  that  go  together. 
May  they  have  more  luck  than  they! 


The  Bonny  Lass  of  Anglesey  13 

18  Lord  William  was  buried  in  St.  Mary's  kirk, 
Lady  Margaret  in  Mary's  choir; 
Out  o'  the  lady's  grave  grew  a  bonny  red  rose, 
And  out  o'  the  knight's  a  briar. 

ig  And  they  two  met,  and  they  two  plait, 
And  fain  they  would  be  near; 
And  a'  the  world  might  ken  right  well 
They  were  two  lovers  dear. 

20  But  by  and  rode  the  Black  Douglas, 
And. wow  but  he  was  rough! 
For  he  pulled  up  the  bonny  briar 
And  flang  't  in  St.  Mary's  Loch. 


THE  BONNY  LASS  OF  ANGLESEY 

1  Our  king  he  has  a  secret  to  tell, 

And  ay  well  keepit  it  must  be; 

The  English  lords  are  coming  down 

To  dance  and  win  the  victory. 

2  Our  king  has  cried  a  noble  cry, 

And  ay  well  keepit  it  must  be: 
"  Gar  saddle  ye,  and  bring  to  me 
The  bonny  lass  of  Anglesey." 

3  Up  she  starts,  as  white  as  the  milk. 

Between  him  and  his  company: 
"What  is  the  thing  I  hae  to  ask. 
If  I  shoidd  win  the  victory?" 

ij.  "Fifteen  ploughs  but  and  a  mill 
I  gie  thee  tUl  the  day  thou  die, 
i'i  nd  the  fairest  knight  in  a'  my  court 
'i\?  ijioosc  thy  husband  for  to  be." 


14  Old  Ballads 

5  She's  ta'en  the  fifteen  Iord[s]  by  the  hand, 

Saying,  "Will  ye  come  dance  with  me?" 
But  on  the  morn  at  ten  o'clock 
They  gave  it  o'er  most  shamefully. 

6  Up  then  raise  the  fifteenth  lord— 

I  wat  an  angry  man  was  he — 
Laid  by  frae  him  his  belt  and  sword, 
And  to  the  floor  gaed  manfully. 

7  He  said,  "My  feet  shall  be  my  dead 

Before  she  win  the  victory;" 
But  before't  was  ten  o'clock  at  night 
He  gaed  it  o'er  as  shamefully. 


THE  DEVIL  AND  TEE  GIRL 

1  Will  ye  hear  a  wonder  thing 
Betwixt  a  maid  and  the  foul  fiend? 

2  This  spake  the  fiend  to  the  maid: 
"Believe  on  me,  maid,  to-day: 

3  "Maid,  mote  I  thy  leman  be, 
Wisdom  I  will  teach  thee: 

4  "All  the  Wisdom  of  the  world. 

If  thou  wilt  be  true  and  forward  hold. 

5  "  What  is  higher  than  is  the  tree? 
What  is  deeper  than  is  the  sea? 

6  "What  is  sharper  than  is  the  thorn? 
What  is  louder  than  is  the  horn? 

7  "What  is  longer  than  is  the  way? 
What  is  rather  than  is  the  day? 


The  Devil  and  the  Girl  15 

8  "What  is  better  than  is  the  bread? 
What  is  sharper  than  is  the  dead? 

g  "What  is  greener  than  is  the  wood? 
What  is  sweeter  than  is  the  nut? 

10  "What  is  swifter  than  is  the  wind? 
What  is  richer  than  is  the  king? 

11  "What  is  yellower  than  is  the  wax? 
What  is  softer  than  is  the  flax? 

12  "But  thou  now  answery  me, 
Thou  shalt  forsooth  my  leman  be." 

13  "  Jesu,  for  thy  mild  might, 
As  thou  art  king  and  knight, 

14  "  Lene  me  wisdom  to  answer  here  right, 
And  shield  me  from  the  foul  wight! 

15  "Heaven  is  higher  than  is  the  tree. 
Hell  is  deeper  than  is  the  sea. 

16  "Hunger  is  sharper  than  is  the  thorn, 
Thunder  is  louder  than  is  the  horn. 

17  "Looking  is  longer  than  is  the  way. 
Sin  is  rather  than  is  the  day. 

18  "God's  flesh  is  sweeter  than  is  the  bread, 
Pain  is  stronger  than  is  the  dead. 

19  "  Grass  is  greener  than  is  the  wood, 
Love  is  sweeter  than  is  the  nut. 


l6  Old  Ballads 

20  "Thought  is  swifter  than  is  the  wind, 
Jesus  is  richer  than  is  the  king. 

21  "  Sulphur  is  yellower  than  is  the  wax, 
Silk  is  softer  than  is  the  flax. 

22  "Now,  thou  fiend,  still  thou  be; 
Nill  ich  speak  no  more  with  thee.'* 

KING  JOHN  AND  THE  ABBOT 

1  An  ancient  story  I'll  tell  you  anon 

Of  a  notable  prince,  that  was  called  King  John; 
And  he  ruled  England  with  main  and  with  might, 
For  he  did  great  wrong,  and  maintain'd  little  right. 

2  And  I'll  tell  you  a  story,  a  stor>'  so  merry, 
Concerning  the  Abbot  of  Canterbury; 
How  for  his  house-keeping  and  high  renown, 
They  rode  post  for  him  to  fair  London  town. 

3  An  hundred  men,  the  king  did  hear  say. 
The  abbot  kept  in  his  house  every  day; 
And  fifty  gold  chains,  without  any  doubt, 
In  velvet  coats  waited  the  abbot  about. 

4  "How  now,  father  abbot,  I  hear  it  of  thee, 
Thou  keepest  a  far  better  house  than  me; 
And  for  thy  house-keeping  and  high  renown, 

I  fear  thou  work'st  treason  against  my  crown." 

5  "My  liege,"  quo'  the  abbot,  "I  would  it  were  known 
I  never  spend  nothing,  but  what  is  my  own; 

And  I  trust  your  grace  will  do  me  no  dere, 
For  spending  of  my  own  true-gotten  gear." 


King  John  and  the  Abbot  17 

6  "Yes,  yes,  father  abbot,  thy  fault  it  is  high, 
And  now  for  the  same  thou  needest  must  die; 
For  except  thou  canst  answer  me  questions  three, 
Thy  head  shall  be  smitten  from  thy  bodie. 

7  "And  first,"  quo'  the  king,  "when  I'm  in  thisstead, 
With  my  crown  of  gold  so  fair  on  my  head, 
Among  all  my  liege-men  so  noble  of  birth, 

Thou  must  tell  me  to  one  penny  what  I  am  worth. 

8  "Secondly,  tell  me,  without  any  doubt. 
How  soon  I  may  ride  the  whole  world  about; 
And  at  the  third  question  thou  must  not  shrink, 
But  tell  me  here  truly  what  I  do  think." 

9  "O  these  are  hard  questions  for  my  shallow  wit, 
Nor  I  cannot  answer  your  grace  as  yet: 

But  if  you  wUl  give  me  but  three  weeks'  space, 
I'll  do  my  endeavour  to  answer  your  grace." 

10  "Now  three  weeks'  space  to  thee  will  I  give, 
And  that  is  the  longest  time  thou  hast  to  live; 
For  if  thou  dost  not  answer  my  questions  three. 
Thy  lands  and  thy  livings  are  forfeit  to  me." 

11  Away  rode  the  abbot  all  sad  at  that  word, 
And  he  rode  to  Cambridge,  and  Oxenford; 
But  never  a  doctor  there  was  so  wise. 

That  could  with  his  learning  an  answer  devise. 

12  Then  home  rode  the  abbot  of  comfort  so  cold. 
And  he  met  his  shepherd  a-going  to  fold: 

"How  now,  my  lord  abbot,  you  arc  welcome  home; 
What  news  do  you  bring  us  from  good  King  John.'"' 


Old  Ballads 

13  "  Sad  news,  sad  news,  shepherd,  I  must  give, 
That  I  have  but  three  days  more  to  live; 
For  if  I  do  not  answer  him  questions  three 
My  head  will  be  smitten  from  my  bodie. 

14  "The  first  is  to  tell  him  there  in  that  stead, 
With  his  crown  of  gold  so  fair  on  his  head, 
Among  all  his  liege  men  so  noble  of  birth, 
To  within  one  penny  of  what  he  is  worth. 

15  "The  second,  to  tell  him,  without  any  doubt, 
How  soon  he  may  ride  this  whole  world  about; 
And  at  the  third  question  I  must  not  shrink, 
But  tell  him  there  truly  what  he  does  think." 

16  "  Now  cheer  up,  sire  abbot,  did  you  never  hear  yet, 
That  a  fool  he  may  learn  a  wise  man  wit? 

Lend  me  horse,  and  serving  men,  and  your  apparel, 
And  I'll  ride  to  London  to  answer  your  quarrel. 

17  "Nay,  frown  not,  if  it  hath  been  told  unto  me, 
I  am  like  your  lordship,  as  ever  may  be; 

And  if  you  will  but  lend  me  your  gown, 

There  is  none  shall  know  us  at  fair  London  town." 

18  "Now  horses  and  serving-men  thou  shalt  have, 
With  sumptuous  array  most  gallant  and  brave, 
With  crozier,  and  mitre,  and  rochet,  and  cope. 
Fit  to  appear  'fore  our  father  the  pope." 

19  "Now,  welcome,  sire  abbot,"  the  king  he  did  say, 
"'Tis  well  thou'rt  come  back  to  keep  thy  day: 
For  and  if  thou  canst  answer  my  questions  three, 
Thy  life  and  thy  living  both  saved  shall  be. 


King  John  and  the  Abbot  19 

20  "And  first,  when  thou  seest  me  here  in  this  stead, 
With  my  crown  of  gold  so  fair  on  my  head, 
Among  all  my  liege-men  so  noble  of  birth. 
Tell  me  to  one  penny  what  I  am  worth." 


21  "For  thirty  pence  our  Saviour  was  sold 
Among  the  false  Jews,  as  I  have  been  told: 
And  twenty-nine  is  the  worth  of  thee. 

For  I  think  thou  art  one  penny  worser  than  he." 

22  The  king  he  laughed,  and  swore  by  St.  Bittel, 
"I  did  not  think  I  had  been  worth  so  little! 
— Now  secondly  tell  me,  without  any  doubt, 
How  soon  I  may  ride  this  whole  world  about." 

23  "You  must  rise  with  the  sun,  and  ride  with  the  same 
Until  the  next  morning  he  riseth  again; 

And  then  your  grace  need  not  make  any  doubt 
But  in  twenty-four  hours  you'll  ride  it  about." 

24  The  king  he  laughed,  and  swore  by  St.  John, 
"I  did  not  think  it  could  be  gone  so  soon! 

— Now  from  the  third  question  thou  must  not  shrink. 
But  tell  me  here  truly  what  I  do  think." 

25  "Yea,  that  shall  I  do,  and  make  your  grace  merry; 
You  think  I'm  the  Abbot  of  Canterbury; 

But  I'm  his  poor  shepherd,  as  plain  you  may  see, 
That  am  come  to  beg  pardon  for  him  and  for  me." 

26  The  king  he  laughed,  and  swore  by  the  mass, 
"I'll  make  thee  lord  abbot  this  day  in  his  place!" 
"Now  nay,  my  liege,  be  not  in  such  speed, 

For  alack  I  can  neither  write  nor  read." 


20  Old  Ballads 

27  "  Four  nobles  a  week  then  I  will  give  thee, 
For  this  merry  jest  thou  hast  shown  unto  me; 
And  tell  the  old  abbot  when  thou  comest  home, 
Thou  hast  brought  him  a  pardon  from  good  King  John." 

PROUD  LADY  MARGARET 

1  'T  WAS  on  a  night,  an  evening  bright, 

When  the  dew  began  to  fa'. 
Lady  Margaret  was  walking  up  and  down, 
Looking  o'er  her  castle  wa'. 

2  She  looked  east  and  she  looked  west. 

To  see  what  she  could  spy, 
When  a  gallant  knight  came  in  her  sight. 
And  to  the  gate  drew  nigh. 

3  "You  seem  to  be  no  gentleman. 

You  wear  your  boots  so  wide; 
But  you  seem  to  be  some  cunning  hunter, 
You  wear  the  horn  so  side." 

4  "I  am  no  cunning  hunter,"  he  said, 

"Nor  ne'er  intend  to  be; 
But  I  am  come  to  this  castle 

To  seek  the  love  of  thee. 
And  if  you  do  not  grant  me  love, 

This  night  for  thee  I'll  die." 

5  "If  you  should  die  for  me,  sir  knight, 

There's  few  for  you  will  mean; 
For  mony  a  better  has  died  for  me. 
Whose  graves  are  growing  green. 

6  "But  ye  maun  read  my  riddle,"  she  said, 

"And  answer  my  questions  three; 
And  but  ye  read  them  right,"  she  said, 
"Gae  stretch  ye  out  and  die. 


Proud  Lady  Margaret  21 

7  "O  wherein  leems  the  beer?"  she  said, 

"Or  wherein  leems  the  wine? 
O  wherein  leems  the  gold?"  she  said, 
"Or  wherein  leems  the  twine?" 

8  "The  beer  is  put  in  a  drinking-horn, 

The  wine  in  glasses  fine, 
There's  gold  in  store  between  two  kings, 

When  they  are  fighting  keen, 
And  the  twine  is  between  a  lady's  two  hands 

When  they  are  washen  clean." 

g  "Now  what  is  the  flower,  the  ae  first  flower, 
Springs  either  on  moor  or  dale? 
And  what  is  the  bird,  the  bonnie,  bonnie  bird. 
Sings  on  the  evening  gale?" 

10  "The  primrose  is  the  ae  first  flower 

Springs  either  on  moor  or  dale, 
And  the  thristlecock  is  the  bonniest  bird 
Sings  on  the  evening  gale." 

11  "But  what's  the  little  coin,"  she  said, 

"Wald  buy  my  castle  bound? 
And  what's  the  little  boat,"  she  said, 
"Can  sail  the  world  all  round?" 

12  "O  hey,  how  mony  small  pennies 

Make  thrice  three  thousand  pound? 
Or  hey,  how  mony  salt  fishes 
Swims  a'  the  salt  sea  round?" 

13  "I  think  you  maun  be  my  match,"  she  said, 

"My  match  and  something  mair; 
You  are  the  first  e'er  got  the  grant 
Of  love  frae  my  father's  heir. 


22  Old  Ballads 

14  "My  father  was  lord  of  nine  castles, 

My  mother  lady  of  three; 
My  father  was  lord  of  nine  castles, 
And  there's  nane  to  heir  but  me. 

15  "And  round  about  a'  thae  castles 

You  may  baith  plow  and  saw, 

And  on  the  fifteenth  day  of  May 

The  meadows  they  wQl  maw." 

16  "0  hald  your  tongue,  Lady  Margaret,"  he  said, 

"For  loud  I  hear  you  lie; 
Your  father  was  lord  of  nine  castles, 

Your  mother  was  lady  of  three; 
Your  father  was  lord  of  nine  castles, 

But  ye  fa'  heir  to  but  three. 

17  "And  round  about  a'  thae  castles 

You  may  baith  plow  and  saw, 
But  on  the  fifteenth  day  of  May 
The  meadows  will  not  maw. 

18  "I  am  your  brother  Willie,"  he  said, 

"I  trow  ye  ken  na  me; 
I  came  to  humble  your  haughty  heart. 
Has  gar'd  sae  mony  die." 

19  "If  ye  be  my  brother  Willie,"  she  said, 

"As  I  trow  weel  ye  be, 
This  night  I'll  neither  eat  nor  drink. 
But  gae  alang  wi'  thee." 

20  "0  hold  your  tongue,  Lady  Margaret,"  he  said, 

"Again  I  hear  you  lie; 
For  ye've  unwashen  hands  and  unwashen  feet. 
To  gae  to  clay  wi'  me. 


Sweet  William's  Ghost  23 

21  "  For  the  wee  worms  are  my  bedfellows, 
And  cauld  clay  is  my  sheets, 
And  when  the  stormy  winds  do  blow, 
My  body  lies  and  sleeps." 


SWEET  WILLIAM'S  GHOST 

1  There  came  a  ghost  to  Margret's  door, 

With  many  a  grievous  groan. 
And  ay  he  tirled  at  the  pin, 
But  answer  made  she  none. 

2  "Is  that  my  father  Philip? 

Or  is  't  my  brother  John? 
Or  is  't  my  true-love,  Willy, 

From  Scotland  new  come  home?" 

3  "'T  is  nat  thy  father  Philip, 

Nor  yet  thy  brother  John; 
But  't  is  thy  true-love,  Willy, 
From  Scotland  new  come  home. 

4  "O  sweet  Margret,  O  dear  Margretv 

I  pray  thee  speak  to  me ; 
Give  me  my  faith  and  troth,  Margret, 
As  I  gave  it  to  thee." 

5  "Thy  faith  and  troth  thou's  never  get. 

Nor  yet  will  I  thee  lend. 
Till  that  thou  come  within  my  bower, 
And  kiss  my  cheek  and  chin." 

6  "If  I  should  come  within  thy  bower, 

I  am  no  earthly  man; 
And  should  I  kiss  thy  rosy  lips. 
Thy  days  will  not  be  lang. 


24  Old  Ballads 

7  "0  sweet  Margret,  0  dear  Margret, 

I  pray  thee  speak  to  me; 
Give  me  my  faith  and  troth,  Margret, 
As  I  gave  it  to  thee." 

8  "Thy  faith  and  troth  thou's  never  get, 

Nor  yet  will  I  thee  lend, 
Till  you  take  me  to  yon  kirk, 
And  wed  me  with  a  ring." 

g  "  My  bones  are  buried  in  yon  kirk-yard, 
Afar  beyond  the  sea, 
And  it  is  but  my  spirit,  Margret, 
That's  now  speaking  to  thee." 

10  She  stretched  out  her  lily-white  hand, 

And,  for  to  do  her  best, 
"Hae,  there's  your  faith  and  troth,  Willy, 
God  send  your  soul  good  rest." 

11  Now  she  has  kilted  her  robes  of  green 

A  piece  below  her  knee, 
And  a'  the  live-lang  winter  night 
The  dead  corp  followed  she. 

12  "Is  there  any  room  at  your  head,  Willy? 

Or  any  room  at  your  feet? 
Or  any  room  at  your  side,  Willy, 
Wherein  that  I  may  creep?  " 

13  "There's  no  room  at  my  head,  Margret, 

There's  no  room  at  my  feet; 
There's  no  room  at  my  side,  Margret, 
My  coffin's  made  so  meet." 


The  Wife  of  Usher's  Well  2$ 

14  Then  up  and  crew  the  red,  red  cock, 

And  up  and  crew  the  gray: 
"  'T  is  time,  't  is  time,  my  dear  Margret, 
That  you  were  going  away." 

15  No  more  the  ghost  to  Margret  said. 

But,  with  a  grievous  groan. 
Evanished  in  a  cloud  of  mist. 
And  left  her  all  alone. 

16  "O  stay,  my  only  true-love,  stay," 

The  constant  Margret  cried; 
Wan  grew  her  cheeks,  she  closed  her  een, 
Stretched  her  soft  limbs,  and  died. 

THE  WIFE  OF  USHER'S  WELL 

1  There  lived  a  wife  at  Usher's  Well, 

And  a  wealthy  wife  was  she ; 
She  had  three  stout  and  stalwart  sons, 
And  sent  them  o'er  the  sea. 

2  They  hadna  been  a  week  from  her, 

A  week  but  barely  ane. 
When  word  came  to  the  carline  wife 
That  her  three  sons  were  gane. 

•   3  They  hadna  been  a  week  from  her, 
A  week  but  barely  three, 
When  word  came  to  the  carline  wife 
That  her  sons  she'd  never  see. 

4  "I  wish  the  wind  may  never  cease, 
Nor  fashes  in  the  flood, 
Till  my  three  sons  come  hame  to  me, 
In  earthly  flesh  and  blood." 


26  Old  Ballads 

5  It  fell  about  the  Martinmas, 

When  nights  are  lang  and  mirk, 
The  carhne  wife's  three  sons  came  hame. 
And  their  hats  were  o'  the  birk. 

6  It  neither  grew  in  sike  nor  ditch, 

Nor  yet  in  any  sheugh; 
But  at  the  gates  o'  Paradise 
That  birk  grew  fair  eneugh. 

7  "Blow  up  the  fire,  my  maidens, 

Bring  water  from  the  well; 
For  a'  my  house  shall  feast  this  night, 
Since  my  three  sons  are  well." 

8  And  she  has  made  to  them  a  bed, 

She's  made  it  large  and  wide, 
And  she's  ta'en  her  mantle  her  about, 
Sat  down  at  the  bed-side. 

9  Up  then  crew  the  red,  red  cock. 

And  up  and  crew  the  gray, 
The  eldest  to  the  youngest  said, 
'  "  'T  is  time  we  were  away." 

10  The  cock  he  hadna  craw'd  but  once. 

And  clapped  his  wings  at  a'. 
When  the  youngest  to  the  eldest  said, 
"Brother,  we  must  awa. 

11  "The  cock  doth  craw,  the  day  doth  daw, 

The  channerin  worm  doth  chide; 
Gin  we  be  missed  out  o'  our  place, 
A  sair  pain  we  maun  bide. 


The  Jew's  Daughter  27 

12  "Fare  ye  weel,  my  mother  dear! 
Fareweel  to  barn  and  byre! 
And  fare  ye  weel,  the  bonny  lass 
That  kindles  my  mother's  fire." 


THE  JEW'S  DAUGHTER 

1  Four  and  twenty  bonny  boys 

Were  playing  at  the  ba' ; 
And  by  it  came  him  sweet  Sir  Hugh, 
And  he  play'd  o'er  them  a'. 

2  He  kick'd  the  ba'  with  his  right  foot, 

And  catch'd  it  wi'  his  knee; 
And  through-and-through  the  Jew's  window, 
He  gar'd  the  bonny  ba'  flee. 

3  He's  done  him  to  the  Jew's  castle, 

And  walk'd  it  round  about; 
And  there  he  saw  the  Jew's  daughter 
At  the  window  looking  out. 

4  "Throw  down  the  ba',  ye  Je^'s  daughter, 

Throw  down  the  ba'  to  me!" 
"Never  a  bit,"  says  the  Jew's  daughter, 
"TiU  up  to  me  come  ye." 

5  "How  wiU  I  come  up?    How  can  I  come  up? 

How  can  I  come  to  thee? 
For  as  ye  did  to  my  auld  father. 
The  same  ye'll  do  to  me." 

6  She's  gane  till  her  father's  garden, 

And  pu'd  an  apple,  red  and  green; 
'Twas  a'  to  wile  him,  sweet  Sir  Hugh, 
And  to  entice  him  in. 


28  Old  Ballads 

7  She's  led  him  in  through  ae  dark  door, 

And  sae  has  she  through  nine; 
She's  laid  him  on  a  dressing  table, 
And  stickit  him  like  a  swine. 

8  And  first  came  out  the  thick,  thick  blood, 

And  syne  came  out  the  thin; 
And  syne  came  out  the  bonny  heart's  blood; 
There  was  nae  mair  within. 

9  She's  row'd  him  in  a  cake  o'  lead, 

Bade  him  lie  still  and  sleep; 
She's  thrown  him  in  Our  Lady's  draw  well, 
Was  fifty  fathom  deep. 

10  When  bells  were  rung,  and  mass  was  sung, 

And  a'  the  bairns  came  hame, 
When  every  lady  gat  hame  her  son, 
The  Lady  Maisry  gat  nane. 

11  She's  ta'en  her  mantle  her  about. 

Her  coffer  by  the  hand ; 
And  she's  gane  out  to  seek  her  son, 
And  wander'd  o'er  the  land. 

12  She's  done  her  to  the  Jew's  castle, 

Where  a'  were  fast  asleep: 
"  Gin  ye  be  there,  my  sweet  Sir  Hugh, 
I  pray  you  to  me  speak." 

13  She's  done  her  to  the  Jew's  garden. 

Thought  he  had  been  gathering  fruit: 
"Gin  ye  be  there,  my  sweet  Sir  Hugh, 
I  pray  you  to  me  speak." 

14  She  near'd  Our  Lady's  deep  draw-well, 

Was  fifty  fathom  deep: 
"Where'er  ye  be,  my  sweet  Sir  Hugh,    . 
I  pray  you  to  me  speak."- 


Sir  Patrick  Spens  29 

15  "  Gae  hame,  gae  hame,  my  mither  dear; 

Prepare  my  winding  sheet; 
And,  at  the  back  o'  merry  Lincoln, 
The  morn  I  will  you  meet." 

16  Now  Lady  Maisry  is  gane  hame; 

Made  him  a  winding  sheet; 
And,  at  the  back  o'  merry  Lincoln, 
The  dead  corpse  did  her  meet. 

17  And  a'  the  bells  o'  merry  Lincoln, 

Without  men's  hands  were  rung; 
And  a'  the  books  o'  merry  Lincoln, 

Were  read  without  man's  tongue; 
And  ne'er  was  such  a  burial 

Sin  Adam's  days  begun. 

SIR  PATRICK  SPENS 

1  The  king  sits  in  Dumferling  town, 

Drinking  the  blude-reid  wine: 
"O  whar  will  I  get  guid  sailor, 
To  sail  this  ship  of  mine?" 

2  Up  and  spak  an  eldern  knicht, 

Sat  at  the  king's  richt  knee: 
"  Sir  Patrick  Spence  is  the  best  sailor 
That  sails  upon  the  sea." 

3  The  king  has  written  a  braid  letter, 

And  sign'd  it  wi'  his  hand. 
And  sent  it  to  Sir  Patrick  Spence, 
Was  walking  on  the  strand. 

4  The  first  line  that  Sir  Patrick  read, 

A  loud  lauch  lauched  he; 
The  next  line  that  Sir  Patrick  read, 
The  tear  blinded  his  ee. 


Old  Ballads 

5  "O  wha  is  this  has  done  this  deed, 

This  ill  deed  done  to  me, 
To  send  me  out  this  time  o'  the  year, 
To  sail  upon  the  sea! 

6  "Mak  haste,  mak  haste,  my  mirry  men  all, 

Our  guid  ship  sails  the  morn." 
"O  say  na  sae,  my  master  dear, 
For  I  fear  a  deadly  storm. 

7  "Late,  late  yestreen  I  saw  the  new  moon,  • 

Wi'  the  auld  moon  in  her  arm. 

And  I  fear,  I  fear,  my  dear  master, 

That  we  will  come  to  harm." 

8  O  our  Scots  nobles  were  richt  laith 

To  weet  their  cork-heel'd  shoon; 
But  lang  or  a'  the  play  were  play'd. 
Their  hats  they  swam  aboon. 

9  0  lang,  lang  may  their  ladies  sit, 

Wi'  their  fans  into  their  hand. 
Or  e'er  they  sec  Sir  Patrick  Spence 
Come  sailing  to  the  land. 

10  O  lang,  lang  may  the  ladies  stand, 

Wi  their  gold  kems  in  their  hair, 
Waiting  for  their  ain  dear  lords, 
For  they'll  see  them  na  mair. 

11  Half  ower,  half  ower  to  Aberdour, 

It's  fifty  fadom  deep. 
And  there  lies  guid  Sir  Patrick  Spence, 
Wi'  the  Scots  lords  at  his  feet. 


i 


St.  Stephen  and  Herod 


ST.  STEPHEN  AND  HEROD 

1  Saint  Stephen  was  a  clerk  in  King  Herodcs  halle, 

And  served  him  of  bread  and  cloth,  as  every  king  befalle. 

2  Stephen  out  of  kitchen  came,  with  bore's  head  on  honde; 
He  saw  a  sterre  was  fair  and  bright  over  Bedlem  stonde. 

3  He  kist  adown  the  bore's  head  and  went  into  the  halle: 
"I  forsake  thee,  king  Herodes,  and  thy  werkes  alle. 

4  "  I  forsake  thee,  King  Herodes,  and  thy  werkes  alle ; 
There  is  a  child  in  Bedlem  born  is  better  than  we  alle." 

5  "Quat  aileth  thee,  Stephen?  quat  is  thee  befalle? 
Lacketh  thee  either  meat  or  drink  in  king  Herodes  halle?" 

6  "Lacketh  me  neither  meat  ne  drink  in  King  Herodes  halle; 
There  is  a  child  in  Bedlem  born  is  better  than  we  alle." 

7  "Quat  aileth  thee,  Stephen?  art  thou  wood,  or  thou  ginnest 

to  breede? 
Lacketh  thee  either  gold  or  fee,  or  ony  riche  wcede?" 

8  "Lacketh  me  neither  gold  ne  fee,  ne  none  riche  weede; 
There  is  a  child  in  Bedlem  born   shal    hclpen  us  at  our 

necde." 

9  "That  is  all  so  sooth,  Stephen,  all  so  sooth  iwis, 

As  this  capon  crowe  shall  that  li'th  here  in  mine  dish." 

lo  That  word  was  not  so  soone  said,  that  word  in  that  halle, 
The  capon  crew:   Christus   natus  est!  among  the  lordes 
alle. 


32  Old  Ballads 

11  "Riseth  up,  mine  turmentures,  by  two  and  all  by  one, 
And  leadeth  Stephen  out  of  this  town  and  stoneth  him  with 

stone!" 

12  Tookcn  he  Stephen,  and  stoned  him  in  the  way, 
And  therefore  is  his  even  on  Chris te's  owne  day. 


KEMP  OWYNE 

1  Her  mother  died  when  she  was  young, 

Which  gave  her  cause  to  make  great  moan; 
Her  father  married  the  warst  woman 
That  ever  lived  in  Christendom. 

2  She  served  her  with  foot  and  hand, 

In  everything  that  she  could  dee; 
Till  once,  in  an  unlucky  time, 

She  threw  her  in  ower  Craigy's  sea. 

3  Says,  "Lie  you  there,  dove  Isabel, 

And  all  my  sorrows  lie  with  thee; 
Till  Kemp  Owyne  come  ower  the  sea. 

And  borrow  you  with  kisses  three, 
Let  all  the  warld  do  what  they  will. 

Oh  borrowed  shall  you  never  be." 

4  Her  breath  grew  Strang,  her  hair  grew  lang, 

And  twisted  thrice  about  the  tree, 
And  all  the  people,  far  and  near. 
Thought  that  a  savage  beast  was  she. 

5  These  news  did  come  to  Kemp  Owyne, 

Where  he  lived  far  beyond  the  sea. 
He  hasted  him  to  Craigy's  sea, 
And  on  the  savage  beast  look'd  he; 


Kemp  Owyne  33 

6  Her  breath  was  Strang,  her  hair  was  lang, 

And  twisted  was  about  the  tree, 
And  with  a  swing  she  came  about : 

"Come  to  Craigy's  sea,  and  kiss  with  me." 

7  "Here  is  a  royal  belt,"  she  cried, 

"That  I  have  found  in  the  green  sea; 
And  while  your  body  it  is  on, 

Drawn  shall  your  blood  never  be; 
But  if  you  touch  me,  tail  or  fin, 

I  vow  my  belt  your  death  shall  be." 

8  He  stepped  in,  gave  her  a  kiss. 

The  royal  belt  he  brought  him  wi'; 
Her  breath  was  Strang,  her  hair  was  lang, 

And  twisted  twice  about  the  tree, 
And  with  a  swing  she  came  about: 

"Come  to  Craigy's  sea,  and  kiss  with  me." 

Q  "Here  is  a  royal  ring,"  she  said, 

"That  I  have  found  in  the  green  sea: 

And  while  your  finger  it  is  on, 
Drawn  shall  your  blood  never  be; 

But  if  you  touch  me,  tail  or  fin, 

I  swear  my  ring  your  death  shall  be." 

10  He  stepped  in,  gave  her  a  kiss. 

The  royal  ring  he  brought  him  wi'; 
Her  breath  was  Strang,  her  hair  was  lang, 

And  twisted  aince  about  the  tree, 
And  with  a  swing  she  came  about: 

"Come  to  Craigy's  sea,  and  kiss  with  me.'* 

11  "Here  is  a  royal  brand,"  she  said, 

"That  I  have  found  in  the  green  sea; 


34  Old  Ballads 


And  while  your  body  it  is  on, 
Drawn  shall  your  blood  never  be: 

But  if  you  touch  me,  tail  or  fin, 
I  swear  my  brand  your  death  shall  be.'* 

12  He  stepped  in,  gave  her  a  kiss. 

The  royal  brand  he  brought  him  wi'; 

Her  breath  was  sweet,  her  hair  grew  short, 
And  twisted  nane  about  the  tree; 

And  smilingly  she  came  about. 
As  fair  a  woman  as  fair  could  be. 


THE  LAILY  WORM  AND  THE  MACHREL  OF  THE  SEA 

1  "I  WAS  bat  seven  year  aid 

Fan  my  mider  she  did  dee, 
My  father  married  the  ae  warst  woman 
The  wardle  did  ever  see. 

2  "For  she  has  made  me  the  laUy  worm 

That  lays  at  the  fit  of  the  tree, 
An'  o'  my  sister  Maisry 
The  machrcl  of  the  sea. 

3  "An'  every  Saturday  at  noon 

The  machrel  comes  to  me, 
An'  she  takes  my  laily  head, 

An'  lays  it  on  her  knee, 
An'  kames  it  wi'  a  silver  kem. 

An'  washes  it  in  the  sea. 

4  "Seven  knights  ha'  I  slain 

San  I  lay  at  the  fit  of  the  tree; 
An'  ye  war  na  my  ain  father, 
The  eight  a"n  ye  sud  be."    . 


The  Laily  Worm  and  the  Machrcl  of  the  Sea  35 

5  "Sing  on  your  song,  ye  laily  worm, 

That  ye  sung  to  me." 
"I  never  sung  that  song 
But  fat  I  wad  sing  to  thee. 

6  "I  was  but  seven  year  aul' 

Fan  my  mider  she  did  dee, 
My  father  married  the  ae  warst  woman 
The  wardle  did  ever  see. 

7  "She  changed  me  to  the  laily  worm 

That  lays  at  the  fit  of  the  tree, 
An'  my  sister  Maisry 

To  the  machrel  of  the  sea. 

8  "And  every  Saturday  at  noon 

The  machrel  comes  to  me, 
An'  she  takes  my  laily  head, 

An'  lays  it  on  her  knee, 
An'  kames  it  with  a  siller  kame, 

An'  washes  it  in  the  sea, 

9  "Seven  knights  ha'  I  slain 

San  I  lay  at  the  fit  of  the  tree; 
An'  ye  war  na  my  ain  father, 
The  eight  ye  sud  be." 

10  He  sent  for  his  lady 

As  fast  as  sen'  coud  he: 
"Far  is  my  son, 

That  ye  sent  fra  me, 
And  my  daughter. 

Lady  Maisry?  " 

11  "Yer  son  is  at  the  king's  court, 

Sarving  for  meat  an'  fee, 
And  yer  daughter  is  at  our  quin's  court, 
A  mar>-  sweet  an'  free." 


36  Old  Ballads 

12  "Ye  lee,  ye  ill  woman, 

Sa  loud  as  I  hear  ye  lee, 
For  my  son  is  the  laily  worm 

That  lays  at  the  fit  of  the  tree, 
An'  my  daughter  Maisry 

The  machrel  of  the  sea." 

13  She  has  ta'en  a  silver  wan 

An'  gi'en  him  strokes  three, 
An'  he  started  up  the  bravest  knight 
Your  eyes  did  ever  see. 

14  She  has  ta'en  a  small  horn, 

An'  loud  and  shill  blew  she, 
An'  a'  the  fish  came  her  till  but  the  proud  machrel, 

An'  she  stood  by  the  sea: 
"Ye  shaped  me  ance  an  unshemly  shape. 

An'  ye's  never  mare  shape  me." 

15  He  has  sent  to  the  wood 

For  hawthorn  and  fun, 
An'  he  has  ta'en  that  gay  lady, 
An'  there  he  did  her  burn. 


THOMAS  RYMER 

True  Thomas  lay  o'er  yond  grassy  bank, 

And  he  beheld  a  lady  gay, 
A  lady  that  was  brisk  and  bold. 

Come  riding  o'er  the  ferny  brae. 

Her  skirt  was  of  the  grass-green  silk. 
Her  mantel  of  the  velvet  fine, 

At  ilka  tett  of  her  horse's  mane 
Hung  fifty  silver  bells  and  nine. 


Thomas  Rymer  37 

3  True  Thomas  he  took  off  his  hat, 

And  bowed  him  low  down  till  his  knee: 
"All  hail,  thou  mighty  Queen  of  Heaven! 
For  your  peer  on  earth  I  never  did  see." 

4  "O  no,  O  no.  True  Thomas,"  she  says, 

"That  name  does  not  belong  to  me; 
I  am  but  the  queen  of  fair  Elfland, 
And  I'm  come  here  for  to  visit  thee. 


5  "But  ye  maun  go  wi'  me  now,  Thomas, 

True  Thomas,  ye  maun  go  wi'  me, 
For  ye  maun  serve  me  seven  years. 

Through  weal  or  wae  as  may  chance  to  be." 

6  She  turned  about  her  mUk-white  steed, 

And  took  True  Thomas  up  behind, 
And  ay  whene'er  her  bridle  rang, 
The  steed  flew  swifter  than  the  wind. 

7  For  forty  days  and  forty  nights 

He  wade  through  red  bluid  to  the  knee. 
And  he  saw  neither  sun  or  moon. 
But  heard  the  roaring  of  the  sea. 

8  O  they  rade  on,  and  further  on, 

Until  they  came  to  a  garden  green: 
"Light  down,  light  down,  ye  lady  free, 
Some  of  that  fruit  let  me  pull  to  thee." 

9  "O  no,  0  no,  True  Thomas,"  she  says, 

"  That  fruit  maun  not  be  touched  by  thee, 
For  a'  the  plagues  that  are  in  hell 
Light  on  the  fruit  of  this  countrie. 


38  Old  Ballads 

10  "But  I  have  a  loaf  here  in  my  lap, 

Likewise  a  bottle  of  claret  wine, 
And  now  ere  we  go  farther  on, 

We'll  rest  a  while,  and  ye  may  dii^e." 

11  When  he  had  eaten  and  drunk  his  fill, 

"Lay  down  your  head  upon  my  knee," 
The  lady  said,  "ere  we  climb  yon  hill, 
And  I  will  show  you  ferlies  three. 

12  "0  see  not  ye  yon  narrow  road, 

So  thick  beset  wi'  thorns  and  briars? 
That  is  the  path  of  righteousness, 
Though  after  it  but  few  enquires. 

13  "And  see  not  ye  that  braid,  braid  road, 

That  lies  across  yon  lilly  leven? 
That  is  the  path  of  wickedness, 

Though  some  call  it  the  road  to  heaven. 

14  "And  see  not  ye  that  bonny  road, 

Which  winds  about  the  ferny  brae? 
That  is  the  road  to  fair  Elfland, 

Where  you  and  I  this  night  maun  gae. 

15  "But  Thomas,  ye  maun  hold  your  tongue. 

Whatever  you  may  hear  or  see, 
For  gin  ae  word  you  should  chance  to  speak. 
You  will  ne'er  get  back  to  your  ain  countrie." 

16  He  has  gotten  a  coat  of  the  even  cloth. 

And  a  pair  of  shoes  of  velvet  green, 
And  till  seven  years  were  past  and  gone 
True  Thomas  on  earth  was  never  seen. 


Hind  Etiii  39 


HIND  ETIN 

1  May  Margret  stood  in  her  bower  door, 

Kaming  down  her  yellow  hair; 
She  spied  some  nuts  growin'  in  the  wud, 
And  wish'd  that  she  was  there. 

2  She  has  plaited  her  yellow  locks 

A  little  abune  her  brce, 
And  she  has  kilted  her  petticoats 

A  little  below  her  knee, 
And  she's  aff  to  Mulberry  wud 

As  fast  as  she  could  gae. 

3  She  had  na  pu'd  a  nut,  a  nut, 

A  nut  but  barely  ane, 
Till  up  started  the  Hind  Etin, 
Says,  "Lady,  let  thae  alane!" 

4  "  Mulberry  wuds  are  a'  my  ain, 

My  father  gi'ed  them  me, 
To  sport  and  play  when  I  thought  lang; 
And  they  sail  na  be  ta'en  by  thee." 

5  And  ay  she  pu'd  the  tither  berry, 

Na  thinking  o'  the  skaith, 
And  said,  "To  wrang  ye.  Hind  Etin, 
I  wad  be  unco  laith." 

6  But  he  has  ta'en  her  by  the  yellow  locks, 

And  tied  her  till  a  tree, 
,  And  said,  "For  slichting  my  commands, 
An  ill  death  sail  ye  dree." 


40  Old  Ballads 

7  He  pu'd  a  tree  out  o'  the  wud, 

The  biggest  that  was  there, 
And  he  howked  a  cave  mony  fathoms  deep, 
And  put  May  Margret  there. 

8  "Now  rest  ye  there,  ye  saucy  may, 

My  wuds  are  free  for  thee; 
And  gif  I  tak  ye  to  mysel', 
The  better  ye'll  like  me." 

9  Na  rest,  na  rest  May  Margret  took, 

Sleep  she  got  never  nane; 
Her  back  lay  on  the  cauld,  cauld  floor, 
Her  head  upon  a  stane. 

10  "O  tak  me  out,"  May  Margret  cried, 

"O  tak  me  hame  to  thee. 
And  I  sail  be  your  bounden  page 
Until  the  day  I  dee." 

11  He  took  her  out  o'  the  dungeon  deep, 

And  awa'  wi'  him  she's  gane; 
But  sad  was  the  day  an  earl's  dochter 
Gaed  hame  wi'  Hind  Etin. 

12  It  fell  out  ance  upon  a  day 

Hind  Etin's  to  the  hunting  gane. 
And  he  has  ta'en  wi'  him  his  eldest  son. 
For  to  carry  his  game. 

13  "01  wad  ask  ye  something,  father, 

An  ye  wadna  angry  be!" 
"Ask  on,  ask  on,  my  eldest  son, 
Ask  ony  thing  at  me." 


Hind  Etin  4I 

14  "My  mother's  cheeks  are  aft  times  weet, 

Alas!  they  are  seldom  dry;" 
"Na  wonder,  na  wonder,  my  eldest  son, 
Though  she  should  brast  and  die. 

15  "For  your  mother  was  an  earl's  dochter, 

Of  noble  birth  and  fame. 
And  now  she's  wife  o'  Hind  Etin, 
Wha  ne'er  got  christendame. 

16  "But  we'll  shoot  the  laverock  in  the  lift. 

The  buntlin'  on  the  tree. 
And  ye'll  tak  them  hame  to  your  mother, 
And  see  if  she'll  comforted  be." 

17  "  I  wad  ask  ye  something,  mother, 

An  ye  wadna  angry  be;" 
"Ask  on,  ask  on,  my  eldest  son, 
Ask  ony  thing  at  me." 

18  "Your  cheeks  they  are  aft  times  weet, 

Alas!  they  are  seldom  dry;" 
"Na  wonder,  na  wonder,  my  eldest  son, 
Though  I  should  brast  and  die. 

ig  "For  I  was  ance  an  earl's  dochter, 
Of  noble  birth  and  fame, 
And  now  I  am  the  wife  of  Hind  Etin, 
Wha  ne'er  got  christendame." 


42  Old  Ballads 


THE  GREAT  SILKIE  OF  SULE  SKERRY 

1  An  eartly  nourice  sits  and  sings, 

And  ay  she  sings,  "Ba,  lilly  wean! 
Little  ken  I  my  bairnis  father, 

Far  less  the  land  that  he  staps  in." 

2  Then  ane  arose  at  her  bed-fit, 

An'  a  grumly  guest  I'm  sure  was  he: 
"Here  am  I,  thy  bairnis  father, 
Although  that  I  be  not  comelie. 

3  "I  am  a  man  upo'  the  land. 

An'  I  am  a  silkie  in  the  sea; 
And  when  I'm  far  and  far  frae  Ian*, 
My  dwelling  is  in  Sule  Skerrie." 

4  "It  was  na  weel,"  quo'  the  maiden  fair, 

"It  was  na  weel,  indeed,"  quo'  she, 
"That  the  Great  Silkie  of  Sule  Skerrie 
Suld  hae  come  and  aught  a  bairn  to  me." 

5  Now  he  has  ta'en  a  purse  of  goud, 

And  he  has  pat  it  upo'  her  knee, 
Saying,  "  Gie  to  me  my  httle  young  son, 
And  tak  thee  up  thy  nourice-fee. 

6  "And  it  sail  come  to  pass  on  a  simmer's  day, 

When  the  sin  shines  het  on  evera  stane, 
That  I  wiU  tak  my  little  young  son, 
An'  teach  him  for  to  swim  the  faem, 

7  "An'  thu  sail  marry  a  proud  gunner, 

An'  a  proud  gunner  I'm  sure  he'll  be, 
An'  the  very  first  shot  that  e'er  he  shoots, 
He'll  shoot  baith  my  young  son  and  me." 


The  Three  Ravens 


43 


THE  THREE  RAVENS 


i^iai 


m 


=F=:J: 


i=S: 


tt 


^giE 


:]— -N , 


jippippf^^^ 


^r*£^ 


1  There  were  three  ravens  sat  on  a  tree, 

Down,  a  down,  hay  down,  hay  down 
There  were  three  ravens  sat  on  a  tree, 

With  a  down 
There  were  three  ravens  sat  on  a  tree, 
They  were  as  black  as  they  might  be. 

With  a  down,  derrie,  derrie,  down,  down,  derrie 

2  The  one  of  them  said  to  his  mate, 

"  Where  shall  we  our  breakfast  take?  " — 

3  "Down  in  yonder  green  field. 

There  lies  a  knight  slain  under  his  shield," 

4  "His  hounds  they  lie  down  at  his  feet. 
So  well  they  can  their  master  keep." 

5  "  His  hawks  they  fly  so  eagerly. 
There's  no  fowl  dare  him  come  nigh." 

6  Down  there  comes  a  fallow  doe, 

As  great  with  young  as  she  might  go. 

7  She  lift  up  his  bloody  head, 

And  kist  his  wounds  that  were  so  red. 


8  She  got  him  up  upon  her  back, 
And  carried  him  to  earthen  lake. 


44  Old  Ballads 

9  She  buried  him  before  the  prime, 
She  was  dead  herself  ere  even-song  time. 

lo  God  send  every  gentleman 

Such  hawks,  such  hounds,  and  such  a  leman. 

BONNY  BARBARA  ALLAN 


^gjS^^i^^^^^gl^-M^^^ 


i 


=j — I — 4^ 


l=§il^^^^^ 


^ 


1  It  was  in  and  about  the  Martinmas  time, 

When  the  green  leaves  were  a-falling, 
That  Sir  John  Graeme,  in  the  West  Country, 
Fell  in  love  with  Barbara  Allan. 

2  He  sent  his  man  down  through  the  town. 

To  the  place  where  she  was  dwelling: 
"O  haste  and  come  to  my  master  dear. 
Gin  ye  be  Barbara  Allan." 

3  O  hooly,  hooly  rose  she  up. 

To  the  place  where  he  was  lying, 
And  when  she  drew  the  curtains  by, 
"Young  man,  I  think  you're  dying.** 

4  "O  it's  I  am  sick,  and  very,  very  sick. 

And  't  is  a'  for  Barbara  Allan:" 
"O  the  better  for  me  ye's  never  be. 
Though  your  heart's  blood  were  a-spilling. 

5  "O  dinna  ye  mind,  young  man,"  said  she, 

"When  ye  was  in  the  tavern  a-drinking, 
That  ye  made  the  healths  gae  round  and  round, 
And  slighted  Barbara  Allan?  " 


Bessy  Bell  and  Mary  Gray  45 

6  He  turn'd  his  face  unto  the  wall, 

And  death  was  with  him  dealing: 
"Adieu,  adieu,  my  dear  friends  all, 
And  be  kind  to  Barbara  Allan." 

7  And  slowly,  slowly  raise  she  up. 

And  slowly,  slowly  left  him, 
And  sighing  said,  she  could  not  stay, 
Since  death  of  life  had  reft  him. 

8  She  had  not  gane  a  mile  but  twa. 

When  she  heard  the  dead-bell  ringing. 
And  every  jow  that  the  dead-bell  geid, 
It  cry'd.  Woe  to  Barbara  Allan! 

9  "O  mother,  mother,  make  my  bed! 

O  make  it  saft  and  narrow! 
Since  my  love  died  for  me  to-day, 
I'll  die  for  him  to-morrow." 


BESSY  BELL  AND  MARY  GRAY 

1  O  Bessy  Bell  and  Mary  Gray, 

They  war  two  bonny  lasses; 
They  bigged  a  bower  on  yon  burn-brae, 
And  theeked  it  o'er  wi'  rashes. 

2  They  theeked  it  o'er  wi'  rashes  green. 

They  theeked  it  o'er  wi'  heather; 
But  the  pest  cam  frae  the  boroughs-town. 
And  slew  them  baith  thegither. 

3  They  thought  to  lie  in  Methven  kirkyard, 

Amang  their  noble  kin; 
But  they  maun  lie  in  Stronach  haugh. 
To  biek  forenent  the  sin. 


46  Old  Ballads 

4  And  Bessy  Bell  and  Mary  Gray, 
They  war  twa  bonny  lasses; 
They  bigged  a  bower  on  yon  burn-brae, 
And  theeked  it  o'er  wi'  rashes. 


KING  ESTMERE 

1  Hearken  to  me,  gentlemen, 

Come  and  you  shall  hear; 
I'll  teU  you  of  two  of  the  boldest  brether 
That  ever  boren  were. 

2  The  tone  of  them  was  Adler  Young, 

The  tother  was  King  Estmere; 
They  were  as  bold  men  in  their  deeds 
As  any  were,  far  and  near. 

3  As  they  were  drinking  ale  and  wine 

Within  his  brother's  hall: 
"When  will  you  marry  a  wife,  brother, 
A  wife  to  glad  us  aU?" 

4  Then  bespake  him  King  Estmere, 

And  answered  him  heartilie: 
"I  know  not  that  lady  in  any  land 
That's  able  to  marry  with  me." 

5  "King  Adland  hath  a  daughter,  brother. 

Men  caU  her  bright  and  sheen ; 
If  I  were  king  here  in  your  stead, 
That  lady  should  be  my  queen." 

6  Says,  "Read  me,  read  me,  dear  brother, 

Throughout  merry  England, 
Where  we  might  find  a  messenger 
Betwixt  us  two  to  send." 


King  Estmere  47 

7  Says,  "You  shall  ride  yourself,  brother, 
I'll  bear  you  company; 
]Many  a  man  through  false  messengers  is  deceived, 
And  I  fear  lest  so  should  we." 


8  Thus  they  renisht  them  to  ride, 
Of  two  good  renisht  steeds, 
And  when  they  came  jto  King  Adland's  hall, 
Of  red  gold  shone  their  weeds. 

g  And  when  they  came  to  King  Adland's  hall, 
Before  the  goodly  gate, 
There  they  found  King  Adland 
Rearing  himself  thereat. 

10  "Now  Christ  thee  save,  good  King  Adland, 

Now  Christ  you  save  and  see;" 
Said,  "You  be  welcome.  King  Estmere, 
Right  heartily  to  me." 

11  "You  have  a  daughter,"  said  Adler  Young, 

"Men  call  her  bright  and  sheen; 
My  brother  would  marry  her  to  his  wife, 
Of  England  to  be  queen." 

12  "Yesterday  was  at  my  dear  daughter 

The  king  his  son  of  Spain, 
And  then  she  nicked  him  of  nay, 

And  I  doubt  she'll  do  you  the  same." 

13  "The  king  of  Spain  is  a  foul  paynim, 

And  'lieveth  on  Mahound, 
And  pity  it  were  that  fair  ladie 
Should  marry  a  heathen  hound." 


48  Old  Ballads 

14  "But  grant  to  me,"  says  King  Estmere, 

"For  my  love  I  you  pray, 
That  I  may  see  your  daughter  dear 
Before  I  go  hence  away." 

15  "Although  it  is  seven  years  and  more 

Since  my  daughter  was  in  hall, 
She  shall  come  once  down  for  your  sake, 
To  glad  my  guestes  all." 

16  Down  then  came  that  maiden  fair, 

With  ladies  laced  in  pall, 
And  half  a  hundred  of  bold  knights, 

To  bring  her  from  bower  to  hall, 
And  as  many  gentle  squires, 

To  tend  upon  them  all. 

17  The  talents  of  gold  were  on  her  head  set 

Hanged  low  down  to  her  knee, 
And  every  ring  on  her  small  finger 
Shone  of  the  crystal  free. 

18  Says,  "God  you  save,  my  dear  madam," 

Says,  "God  you  save  and  see:" 
Said,  "You  be  welcome.  King  Estmere, 
Right  welcome  unto  me. 

iQ  "And  if  you  love  me,  as  you  say. 
So  well  and  heartilie. 
All  that  ever  you  are  comen  about 
Soon  sped  now  shall  it  be." 

20  Then  bespake  her  father  dear: 

"My  daughter,  I  say  nay;  i 

Remember  well  the  king  of  Spain,  511 

What  he  said  yesterday. 


! 


King  Estmere  49 

21  "He  would  pull  down  my  halls  and  castles, 
And  reave  me  of  my  life; 
I  cannot  blame  him  if  he  do, 
If  I  reave  him  of  his  wife." 


22  "Your  castles  and  your  towers,  father, 

Are  strongly  built  about, 
And  therefore  of  the  king  his  son  of  Spain 
We  need  not  stand  in  doubt. 

23  "Plight  me  your  troth,  now.  King  Estmere, 

By  heaven  and  your  right  hand. 
That  you  will  marry  me  to  your  wife. 
And  make  me  queen  of  your  land." 

24  Then  King  Estmere  he  plight  his  troth, 

By  heaven  and  his  right  hand. 
That  he  would  marry  her  to  his  wife, 
And  make  her  queen  of  his  land. 

25  And  he  took  leave  of  that  lady  fair. 

To  go  to  his  own  countree. 
To  fetch  him  dukes  and  lords  and  knights, 
That  married  they  might  be. 

26  They  had  not  ridden  scant  a  mile, 

A  mile  forth  of  the  town, 
But  in  did  come  the  king  of  Spain, 
With  kempes  many  one. 

27  But  in  did  come  the  king  of  Spain, 

With  many  a  bold  barone. 
Tone  day  to  marr>'  King  Adland's  daughter, 
Tother  day  to  carry  her  home, 


50  Old  Ballads 

28  She  sent  one  after  King  Estmere, 

In  all  the  speed  might  be, 
That  he  must  either  turn  again  and  fight, 
Or  go  home  and  lose  his  ladle. 

29  One  while  then  the  page  he  went, 

Another  while  he  ran; 
Till  he  had  o'ertaken  King  Estmere, 
Iwis  he  never  blan. 

30  "Tidings,  tidings,  King  Estmere!" 

"What  tidings  now,  my  boy?" 
"O  tidings  I  can  tell  to  you 
That  win  you  sore  annoy. 

31  "You  had  not  ridden  scant  a  mile, 

A  mile  out  of  the  town, 
But  in  did  come  the  king  of  Spain, 
With  kempes  many  a  one. 

32  "But  in  did  come  the  king  of  Spain, 

With  many  a  bold  barone, 
Tone  day  to  marry  King  Adland's  daughter, 
Tother  day  to  carry  her  home. 

33  "  My  lady  fair  she  greets  you  well, 

And  evermore  well  by  me; 
You  must  either  turn  again  and  fight, 
Or  go  home  and  lose  your  ladie." 

34  Says,  "Read  me,  read  me,  dear  brother. 

My  read  shall  rise  at  thee, 
Whether  it  is  better  to  turn  and  fight, 
Or  go  home  and  lose  my  ladie." 


King  Estmere  51 

35  "Now  hearken  to  me,"  says  Adler  Young, 
"And  your  read  must  rise  at  me; 
I  quickly  will  devise  a  way 
To  set  thy  lady  free. 


36  "My  mother  was  a  western  woman, 

And  learned  in  gramarie, 
And  when  I  learned  at  the  school. 
Something  she  taught  it  me. 

37  "There  grows  an  herb  within  this  field, 

And  if  it  were  but  known, 
His  color,  which  is  white  and  red, 
It  will  make  black  and  brown. 

38  "His  color,  which  is  black  and  brown. 

It  will  make  red  and  white; 
That  sword  is  not  in  all  England 
Upon  his'  coat  will  bite. 

39  "And  you  shall  be  a  harper,  brother. 

Out  of  the  north  countree. 
And  I'll  be  your  boy,  so  fain  of  fight. 
And  bear  your  harp  by  your  knee. 

40  "And  you  shall  be  the  best  harper 

That  ever  took  harp  in  hand, 
And  I  will  be  the  best  singer 
That  ever  sung  in  this  land. 

41  "It  shall  be  written  in  our  foreheads, 

All  and  in  gramarie, 
That  we  two  arc  the  boldest  men 
That  are  in  all  Christiantie." 


52  Old  Ballads 

42  And  thus  they  renisht  them  to  ride, 

Of  two  good  renisht  steeds, 
And  when  they  came  to  King  Adland's  hall, 
Of  red  gold  shone  their  weeds. 

43  And  when  they  came  to  King  Adland's  hall 

Until  the  fair  hall-yate, 
There  they  found  a  proud  porter, 
Rearing  himself  thereat. 

44  Says,  "Christ  thee  save,  thou  proud  porter," 

Says,  "Christ  thee  save  and  see;" 
"Now  you  be  welcome,"  said  the  proud  porter, 
"Of  what  land  soever  ye  be." 

45  "We  been  harpers,"  said  Adler  Young, 

"Come  out  of  the  north  countree; 
We  been  come  hither  until  this  place 
This  proud  wedding  for  to  see." 

46  Said,  "And  your  color  were  white  and  red, 

As  it  is  black  and  brown, 
I  would  say  King  Estmere  and  his  brother 
Were  comen  until  this  town." 

47  Then  they  pulled  out  a  ring  of  gold, 

Laid  it  on  the  porter's  arm: 
"And  ever  we  will  thee,  proud  porter. 
Thou  wilt  say  us  no  harm." 

48  Sore  he  looked  on  King  Estmere, 

And  sore  he  handled  the  ring, 
Then  opened  to  them  the  fair  hall-yates, 
He  let  for  no  kind  of  thing. 


King  Estmere  53 

49  King  Estmere  he  stabled  the  steed 

So  fair  at  the  hall-board; 
The  froth  that  came  from  his  bridle  bit 
Light  in  King  Bremor's  beard. 

50  Says,  "Stable  thy  steed,  thou  proud  harper," 

Says,  "Stable  him  in  the  stall; 
It  doth  not  beseem  a  proud  harper 
To  stable  his  steed  in  a  king's  hall." 

51  "My  lad  he  is  so  Hther,"  he  said, 

"He  will  do  nought  that's  meet; 
And  is  there  any  man  in  this  hall 
Were  able  him  to  beat?" 

52  "  Thou  speakest  proud  words,"  says  the  king  of  Spain, 

"Thou  harper,  here  to  me; 
There  is  a  man  within  this  hall 
Will  beat  thy  lad  and  thee." 

53  "O  let  that  man  come  down,"  he  said, 

"A  sight  of  him  would  I  see; 
And  when  he  hath  beaten  well  my  lad, 
Then  he  shall  beat  of  me." 

54  Down  then  came  the  kempery  man, 

And  looked  him  in  the  ear; 
For  all  the  gold  that  was  under  heaven, 
He  durst  not  nigh  him  near. 

55  "And  how  now,  kemp,"  said  the  king  of  Spain, 

"And  how,  what  aileth  thee?" 
He  says,  "It  is  writ  in  his  forehead. 

All  and  in  gramarie. 
That  for  all  the  gold  that  is  under  heaven, 

I  dare  not  nigh  him  nigh." 


54  Old  Ballads 

s6  Then  King  Estmere  pulled  forth  his  harp 
And  played  a  pretty  thing; 
The  lady  upstart  from  the  board, 
And  would  have  gone  from  the  king. 

57  "Stay  thy  harp,  thou  proud  harper, 
For  God's  love  I  pray  thee; 
For  and  thou  plays  as  thou  begins, 
Thou'll  till  my  bride  from  me." 

s8  He  stroke  upon  his  harp  again. 
And  played  a  pretty  thing; 
The  lady  lough  a  loud  laughter. 
As  she  sate  by  the  king. 

59  Says,  "Sell  me  thy  harp,  thou  proud  harper, 

And  thy  stringes  all; 
For  as  many  gold  nobles  thou  shalt  have 
As  here  be  rings  in  the  hall." 

60  "What  would  ye  do  with  my  harp,"  he  said, 

"If  I  did  sell  it  ye?" 
"To  play  my  wife  and  me  a  fitt, 
When  abed  together  we  be." 

6i  "Now  sell  me,"  quoth  he,  "thy  bride  so  gay, 
As  she  sits  by  thy  knee; 
And  as  many  gold  nobles  I  will  give 
As  leaves  been  on  a  tree." 

62  "And  what  would  ye  do  with  my  bride  so  gay. 
If  I  did  sell  her  thee? 
More  seemly  it  is  for  her  fair  body 
To  lie  by  me  than  thee." 


King-Estmere  55 

63  He  played  again  both  loud  and  shrill. 

And  Adler  he  did  sing: 
"0  lady,  this  is  thy  own  true  love, 
No  harper,  but  a  king. 

64  "O  lady,  this  is  thy  own  true  love, 

As  plainly  thou  mayest  see, 
And  I'll  rid  thee  of  that  foul  paynira 
Who  parts  thy  love  and  thee." 

6s  The  lady  looked,  the  lady  blushed. 
And  blushed  and  looked  again, 
While  Adler  he  has  drawn  his  brand, 
And  hath  the  sowdan  slain. 

66  Up  then  rose  the  kempery  men, 

And  loud  they  gan  to  cry: 
"Ah,  traitors,  ye  have  slain  our  king, 
And  therefore  ye  shall  die." 

67  King  Estmere  threw  the  harp  aside. 

And  swithe  he  drew  his  brand. 

And  Estmere  he  and  Adler  Young 

Right  stiff  in  stour  can  stand. 

68  And  ay  their  swords  so  sore  can  bite, 

Through  help  of  gramarie. 
That  soon  they  have  slain  the  kempery  men. 
Or  forced  them  forth  to  flee. 

69  King  Estmere  took  that  fair  ladie, 

And  married  her  to  his  wife. 
And  brought  her  home  to  merry  England, 
With  her  to  lead  his  Ufe. 


56  Old  Ballads 


YOUNG  BEICHAN 

1  In  London  city  was  Beichan  born, 

He  iong'd  strange  countries  for  to  see; 
But  he  was  ta'en  by  a  savage  Moor, 
Who  handl'd  him  right  cruelly; 

2  For  through  his  shoulder  he  put  a  bore; 

An'  through  the  bore  has  pitten  a  tree; 

An'  he's  gar'd  him  draw  the  carts  o'  wine 

Where  horse  and  oxen  had  wont  to  be. 

3  He's  casten  him  in  a  dungeon  deep. 

Where  he  could  neither  hear  nor  see; 
He's  shut  him  up  in  a  prison  strong, 
And  he's  handl'd  him  right  cruelly. 

4  O  this  Moor  he  had  but  ae  daughter, 

I  wot  her  name  was  Susie  Pye; 
She's  do'en  her  to  the  prison  house. 
And  she's  called  Young  Beichan  one  word  by. 

5  "O  hae  ye  ony  lands,  or  rents, 

Or  cities  in  your  ain  countree. 
Could  free  you  out  of  prison  strong, 
And  could  maintain  a  lady  free?" 

6  "O  London  city  is  my  own, 

And  other  cities  twa  or  three. 
Could  loose  me  out  o'  prison  strong. 
And  could  maintain  a  lady  free." 

7  O  she  has  brib'd  her  father's  men 

Wi'  meikle  goud  and  white  money; 
She's  gotten  the  key  o'  the  prison  doors 
And  she  has  set  Young  Beichan  free. 


Young  Beichan  57 

8  She's  gi'en  him  a  loaf  of  good  white  bread, 

But  an'  a  flask  o'  Spanish  wine ; 
And  she  bad  him  mind  on  the  lady's  love 
That  sae  kindly  freed  him  out  o'  pine. 

9  "Go  set  your  foot  on  good  ship-board, 

And  haste  ye  back  to  your  ain  countree; 
And  before  that  seven  years  has  an  end. 
Come  back  again,  love,  and  marry  me." 

10  It  was  long  or  seven  years  had  an  end. 
She  long'd  fu'  sair  her  love  to  see; 
She's  set  her  foot  on  good  ship-board. 
An'  turn'd  her  back  on  her  ain  countree. 


11  She's  sail'd  up,  so  has  she  down. 

Till  she  came  to  the  other  side; 
She's  landed  at  Young  Beichan's  gates, 
An'  I  hop  this  day  she  sail  be  his  bride. 

12  "Is  this  Young  Beichan's  gates,"  says  she, 

"Or  is  that  noble  prince  within?" 
"He's  up  the  stairs  wi'  his  bonny  bride, 
An  mony  a  lord  and  lady  wi'  him." 

13  "0  has  he  ta'en  a  bonny  bride? 

An'  has  he  clean  forgotten  me?  " 
An',  sighing,  said  that  gay  lady, 
"I  wish  I  were  in  my  ain  countree." 

14  But  she's  pitten  her  han'  in  her  pocket, 

An'  gi'en  the  porter  guineas  three; 
Says,  "Take  ye  that,  ye  proud  porter, 
An'  bid  the  bridegroom  speak  to  me." 


58  Old  Ballads 

IS  O  when  the  porter  came  up  the  stair, 
He's  fa'n  low  down  upon  his  knee;- 
"Won  up,  won  up,  ye  proud  porter, 
An'  what  makes  a'  this  courtesy?  " 


i6  "0  I've  been  porter  at  your  gates. 

This  mair  nor  seven  years  an'  three; 
But  there  is  a  lady  at  them  now, 
The  like  of  whom  I  never  did  see; 

17  "For  on  every  finger  she  has  a  ring. 

An'  on  the  mid-finger  she  has  three; 
An'  there's  as  meikle  goud  aboon  her  brow 
As  would  buy  an  earldom  o'  Ian'  to  me." 

18  Then  up  it  started  Young  Beichan, 

An'  sware  so  loud  by  Our  Ladie, 
"It  can  be  nane  but  Susie  Pye, 
That  has  come  o'er  the  sea  to  me." 

19  O  qviickly  ran  he  down  the  stair; 

Of  fifteen  steps  he  has  made  but  three; 
He's  ta'en  his  bonny  love  in  his  arms, 
And  I  wot  he  kiss'd  her  tenderly. 

20  "O  hae  ye  ta'en  a  bonny  bride? 

And  hae  ye  quite  forsaken  me? 
And  hae  ye  quite  forgotten  her 
That  gae  you  life  and  liberty?  " 

21  She  looked  o'er  her  left  shoulder. 

To  hide  the  tears  stood  in  her  ee: 
"Now  fare  thee  well,  Young  Beichan,"  she  says, 
"I'll  try  to  think  nae  mair  on  thee." 


Hind  Horn  59 

22  "Take  back  your  daughter,  madam,"  he  says, 

"An'  a  double  dowTy  I'll  gie  her  wi'; 
For  I  maun  marry  my  first  true  love, 
That's  done  and  suffered  so  much  for  me." 

23  He's  ta'en  his  bonny  love  by  the  han', 

And  led  her  to  yon  fountain  stane ; 
He's  chang'd  her  name  from  Susie  Pye, 

And  he's  call'd  her  his  bonny  love,  Lady  Jane. 


HIND  HORN 

1  In  Scotland  there  was  a  baby  born, 

LU  lal,  etc. 
And  his  name  it  was  called  young  Hind  Horn. 
With  a  fal  lal,  etc. 

2  He  sent  a  letter  to  our  king 

That  he  was  in  love  with  his  daughter  Jean. 

3  He's  gi'en  to  her  a  silver  wand, 

With  seven  living  laverocks  sitting  thereon. 

4  She's  gi'en  to  him  a  diamond  ring. 
With  seven  bright  diamonds  set  therein. 

5  "When  this  ring  grows  pale  and  wan, 
You  may  know  by  it  my  love  is  gane." 

6  One  day  as  he  looked  his  ring  upon, 
He  saw  the  diamonds  pale  and  wan. 

7  He  left  the  sea  and  came  to  land, 

And  the  first  that  he  met  was  an  old  beggar  man. 


6o  Old  Ballads 

8  "What  news,  what  news?"  said  young  Hind  Horn; 
"No  news,  no  news,"  said  the  old  beggar  man. 

9  "No  news,"  said  the  beggar,  "no  news  at  a'. 
But  there  is  a  wedding  in  the  king's  ha'. 

10  "But  there  is  a  wedding  in  the  king's  ha'. 
That  has  halden  these  forty  days  and  twa." 

11  "Will  ye  lend  me  your  begging  coat? 
And  I'll  lend  you  my  scarlet  cloak. 

12  "Will  you  lend  me  your  beggar's  rung? 
And  I'll  gie  you  my  steed  to  ride  upon. 

13  "Will  you  lend  me  your  wig  o'  hair, 
To  cover  mine,  because  it  is  fair?  " 

14  The  auld  beggar  man  was  bound  for  the  mill, 
But  young  Hind  Horn  for  the  king's  hall. 

15  The  auld  beggar  man  was  bound  for  to  ride, 
But  young  Hind  Horn  was  bound  for  the  bride. 

i6  When  he  came  to  the  king's  gate. 

He  sought  a  drink  for  Hind  Horn's  sake. 

17  The  bride  came  down  with  a  glass  of  wine, 

When  he  drank  out  the  glass,  and  dropt  in  the  ring. 

18  "O  got  ye  this  by  sea  or  land? 

Or  got  ye  it  off  a  dead  man's  hand?  " 

19  "I  got  not  it  by  sea,  I  got  it  by  land, 

And  I  got  it,  madam,  out  of  your  own  hand." 


The  Gay  Goshawk  6l 

20  "0  I'll  cast  off  my  gowns  of  brown, 
And  beg  wi'  you  frae  town  to  town. 

21  "O  I'll  cast  off  my  gowns  of  red, 

And  I'll  beg  wi'  you  to  win  my  bread." 

22  "Ye  needna  cast  off  your  gowns  of  brown, 
For  I'll  make  you  lady  o'  many  a  town. 

23  "Ye  needna  cast  off  your  gowns  of  red, 
It's  only  a  sham,  the  begging  o'  my  bread." 

24  The  bridegroom  he  had  wedded  the  bride, 
But  young  Hind  Horn  he  took  her  to  bed. 

THE  GAY  GOSHAWK 

1  "0  well's  me  o'  my  gay  goshawk, 

That  he  can  speak  and  flee; 

He'll  carry  a  letter  to  my  love, 

Brmg  back  another  to  me." 

2  "O  how  can  I  your  true-love  ken, 

Or  how  can  I  her  know? 
When  frae  her  mouth  I  ne'er  heard  couth, 
Nor  wi'  my  eyes  her  saw." 

3  "O  well  sal  ye  my  true-love  ken, 

As  soon  as  you  her  see; 
For,  of  a'  the  flowers  of  fair  England, 
The  fairest  flower  is  she. 

4  "An'  even  at  my  love's  bower-door 

There  grows  a  bowing  birk; 
An'  sit  ye  down  and  sing  thereon 
As  she  gangs  to  the  kirk. 


62  Old  Ballads 

5  "An'  four-and-twenty  ladies  fair 

Will  wash  and  to  the  kirk, 
But  well  shall  ye  my  true-love  ken, 
For  she  wears  goud  on  her  skirt. 

6  "An'  four-and-twenty  gay  ladies 

Will  to  the  mass  repair; 
But  well  sal  ye  my  true-love  ken, 
For  she  wears  goud  on  her  hair." 


Gentleman  Riding  out  with  His  Hawk 
From  the  Luttrell  Psalter,  ca.  1340 

7  And  even  at  that  lady's  bower-door 

There  grows  a  bowin'  birk ; 
And  she  set  down  and  sang  thereon 
As  she  ged  to  the  kirk. 

8  "O  eat  and  drink,  my  maries  a', 

The  wine  flows  you  among, 
Till  I  gang  to  my  shot-window, 
An'  hear  yon  bonny  bird's  song. 

9  "Sing  on,  sing  on,  my  bonny  bird, 

The  song  ye  sang  the  streen; 

For  I  ken,  by  your  sweet  singin', 

Ye 're  frae  my  true-love  sen." 


The  Gay  Goshawk  63 

10  O  first  he  sang  a  merry  song, 

And  then  he  sang  a  grave; 
And  then  he  peck'd  his  feathers  gray, 
To  her  the  letter  gave. 

11  "Ha,  there's  a  letter  frae  your  love,   ^ 

He  says  he  sent  you  three; 

He  canna  wait  your  love  langer, 

But  for  your  sake  he'll  die. 

12  "He  bids  you  \\Tite  a  letter  to  him; 

He  says  he's  sent  you  five; 
He  canna  wait  your  love  langer, 

Tho'  you're  the  fairest  woman  alive." 

13  "Ye  bid  him  bake  his  bridal  bread. 

And  brew  his  bridal  ale; 
And  I'll  meet  him  in  fair  Scotland, 
Lang,  lang  or  it  be  stale." 

14  She's  doen  her  to  her  father  dear, 

Fa'n  low  down  on  her  knee: 
"A  boon,  a  boon,  my  father  dear, 
I  pray  you,  grant  it  me." 

15  "Ask  on,  ask  on,  my  daughter. 

An'  granted  it  sal  be; 
Except  ae  squire  in  fair  Scotland, 
An'  him  you  sal  never  see." 

16  "The  only  boon,  my  father  dear, 

That  I  do  crave  of  thee, — 
Is,  gin  I  die  in  southin  lands. 
In  Scotland  to  bury  me. 


64  Old  Ballads 

17  "And  the  firstin  kirk  that  ye  come  till, 
Ye  gar  the  bells  be  rung; 
And  the  nextin  kirk  that  ye  come  till, 
Ye  gar  the  mess  be  sung. 


18  "And  the  thirdin  kirk  that  ye  come  till, 

You  deal  gold  for  my  sake. 
And  the  fourthin  kirk  that  ye  come  tiU, 
You  tarry  there  tiU  iiight." 

19  She  has  doen  her  to  her  bigly  bower 

As  fast  as  she  coud  fare; 
And  she  has  tane  a  sleepy  draught, 
That  she  had  mix'd  wi'  care. 

20  She's  laid  her  down  upon  her  bed. 

An  soon  she's  fa'n  asleep. 
And  soon  o'er  every  tender  limb 
Cauld  death  began  to  creep. 

21  When  night  was  flown,  and  day  was  come, 

Nae  ane  that  did  her  see 
But  thought  she  was  as  surely  dead, 
As  ony  lady  coud  be. 

22  Her  father  and  her  brothers  dear 

Gard  make  to  her  a  bier; 
The  tae  half  was  o'  guid  red  gold, 
The  tither  o'  silver  clear. 

23  Her  mither  an'  her  sisters  fair 

Gard  work  for  her  a  sark; 
The  tae  half  was  o'  cambric  fine, 
The  tither  0'  needle  wark. 


Get  up  and  Bar  the  Door  65 

24  An  the  firstin  kirk  that  they  came  till, 

They  gard  the  bells  be  rung; 
The  nextin  kirk  that  they  came  till, 
They  gard  the  mess  be  sung. 

25  The  thirdin  kirk  that  they  came  tUl, 

They  dealt  gold  for  her  sake, 
An'  the  fourthin  kirk  that  they  came  till, 
Lo,  there  they  met  her  make. 

26  "Lay  do-^vn,  lay  down  the  bigly  bier, 

Let  me  the  dead  look  on;" 

Wi'  cherry  cheeks  and  ruby  lips 

She  lay  and  smU'd  on  him. 

27  "O  ae  sheave  o'  your  bread,  true-love, 

An'  ae  glass  o'  your  wine; 
For  I  hae  fasted  for  your  sake 
These  fully  days  is  nine. 

28  "  Gang  hame,  gang  hame,  my  seven  bold  brothers. 

Gang  hame  and  sound  your  horn ! 
And  ye  may  boast  in  southin  lands 
Your  sister's  play'd  you  scorn." 

GET  UP  AND  BAR  THE  DOOR 

I  It  fell  about  the  Martinmas  time. 
And  a  gay  time  it  was  then, 
WTien  our  goodwife  got  puddings  to  make. 
And  she's  boil'd  them  in  the  pan. 


The  wind  sae  cauld  blew  south  and  north, 

And  blew  into  the  floor; 
Quoth  our  goodman  to  our  goodwife 

"Gae  out  and  bar  the  door." 


66  Old  Ballads 

3  "My  hand  is  in  my  hussyfskap, 

Goodman,  as  ye  may  see; 
An  it  should  nae  be  barr'd  this  hundred  year, 
It's  no  be  barr'd  for  me." 

4  They  made  a  paction  'tween  them  twa, 

They  made  it  firm  and  sure, 
That  the  first  word  whae'er  should  speak, 
Should  rise  and  bar  the  door. 

5  Than  by  there  came  two  gentlemen, 

At  twelve  o'clock  at  night. 
And  they  could  neither  see  house  nor  hall, 
Nor  coal  nor  candlelight. 

6  "Now  whether  is  this  a  rich  man's  house, 

Or  whether  is  it  a  poor?  " 
But  ne'er  a  word  wad  ane  o'  them  speak, 
For  barring  of  the  door. 

7  And  first  they  ate  the  white  puddings, 

And  syne  they  ate  the  black: 
Tho  muckle  thought  the  goodwife  to  hersel', 
Yet  ne'er  a  word  she  spake. 

8  Then  said  the  one  unto  the  other, 

"Here,  man,  tak  ye  my  knife; 
Do  ye  tak  aff  the  auld  man's  beard, 
And  I'll  kiss  the  goodwife." 

9  "  But  there's  nae  water  in  the  house, 

And  what  shall  we  do  than?" 
"What  ails  ye  at  the  pudding  broo 
That  boils  into  the  pan? " 


Katharine  Janfarie  (>J 

10  O  up  then  started  our  goodman, 

An  angry  man  was  he; 
"Will  ye  kiss  my  wife  before  my  een, 
And  scad  me  wi'  pudding  bree?  " 

11  O  up  then  started  our  goodwife, 

Gied  three  skips  on  the  floor; 
"Goodman,  you've  spoken  the  foremost  word; 
Get  up  and  bar  the  door." 

KATHARINE  JANFARIE 

1  There  leeft  a  may,  an  a  weel-far'd  may, 

High,  high  up  in  yon  glen;  O 
Her  name  was  Katharine  Janfarie, 
She  was  courtit  by  mony  men.  O 

2  Up  then  cam  Lord  Lauderdale, 

Up  thrae  the  Lawland  border, 
And  he  has  come  to  court  this  may, 
A'  mountit  in  gude  order. 

3  He's  tell'd  her  father,  he's  tell'd  her  mother, 

An'  a'  the  lave  o'  her  kin. 
An'  he  has  teU'd  the  bonny  lass  hersel', 
An'  has  her  favor  win. 

4  Out  then  cam  Lord  Faughanwood, 

Out  frae  the  English  border, 
An'  for  to  court  this  well-far'd  may, 
A'  mountit  in  gude  order. 

5  He  tell'd  her  father,  he  tell'd  her  mother, 

An'  a'  the  rest  o'  her  kin. 
But  he  ne'er  tell'd  the  bonny  lass  hersel', 
Till  on  her  waddin'-c'cn. 


68  Old  Ballads 

6  When  they  war  a'  at  denner  set, 

Drinkin'  the  bluid-red  wine, 
'T  was  up  then  cam  Lord  Lauderdale, 
The  bridegroom  soud  hae  been. 

7  Up  then  spak  Lord  Faughanwood, 

An  he  spak  very  slee: 
"O  are  ye  come  for  sport?"  he  says, 

"Or  are  ye  come  for  play? 
Or  are  ye  come  for  a  kiss  o'  our  bride, 

An'  the  morn  her  waddin'-day?  " 

8  "0  I'm  no  come  for  ought,"  he  says, 

"But  for  some  sport  or  play; 
An'  ae  word  o'  yer  bonnie  bride, 
Than  I'll  horse  an'  ride  away." 

9  She  fill'd  a  cup  o'  the  gude  red  wine, 

She  fiird  it  to  the  ee: 
"Here's  a  health  to  you,  Lord  Lauderdale, 
An'  a'  your  companie." 

10  She  fill'd  a  cup  o'  the  gude  red  wine, 

She  fill'd  it  to  the  brim: 
"Here's  a  health  to  you.  Lord  Lauderdale, 
My  bridegroom  should  hae  been." 

11  He's  ta'en  her  by  the  milk-white  hand. 

And  by  the  gars-green  sleeve. 
An'  he  has  mountit  her  behind  him, 
O'  the  bridegroom  spierd  nae  leave. 

12  "It's  now  take  yer  bride,  Lord  Faughanwood, 

Now  take  her  an  ye  may; 

But  if  ye  take  yer  bride  again 

We  will  ca'  it  foul  play." 


Bewick  and  Graham  69 

13  There  war  four  a'  twenty  bonnie  boys, 

A'  clad  i'  the  simple  grey; 
They  said  the'  wad  take  their  bride  again, 
By  the  Strang  hand  an  the'  may. 

14  Some  o'  them  were  fu'  willin'  men, 

But  they  war  na  willin'  a'; 
Sae  four  an  twenty  ladies  gay 
Bade  them  ride  on  their  way. 

15  The  bluid  ran  down  by  the  Cadan  bank, 

An'  in  by  the  Cadan  brae, 
An'  there  the'  gard  the  piper  play 
It  was  a'  for  foul,  foul  play. 

16  A'  ye  lords  in  fair  England 

That  live  by  the  Enghsh  border, 
Gang  never  to  Scotland  to  seek  a  wife, 
Or  than  ye'll  get  the  scorn. 

17  They'll  keep  ye  up  i'  temper  guid 

Until  yer  waddin'-day. 
They'll  thraw  ye  frogs  instead  o'  fish, 
An'  steal  your  bride  away. 

BEWICK  AND  GRAHAM 

1  Old  Graham  he  is  to  Carlisle  gone, 

Where  Sir  Robert  Bewick  there  met  he; 
In  arms  to  wine  they  are  gone, 

And  drank  till  they  were  both  merrie. 

2  Old  Graham  he  took  up  the  cup, 

And  said,  "Brother  Bewick,  here's  to  thee; 
And  here's  to  our  two  sons  at  home, 
For  they  live  best  in  our  countrie." 


70  Old  Ballads 

3  "Nay,  were  thy  son  as  good  as  mine, 

And  of  some  books  he  could  but  read. 
With  sword  and  buckler  by  his  side, 
To  see  how  he  could  save  his  head, 

4  "They  might  have  been  call'd  two  bold  brethren 

Where  ever  they  did  go  or  ride; 
They  might  have  been  call'd  two  bold  brethren, 
They  might  have  crack'd  the  Border-side. 

5  "Thy  son  is  bad,  and  is  but  a  lad. 

And  bully  to  my  son  cannot  be; 
For  my  son  Bewick  can  both  write  and  read, 
And  sure  I  am  that  cannot  he." 

6  "I  put  him  to  school,  but  he  would  not  learn, 

I  bought  him  books,  but  he  would  not  read; 
But  my  blessing  he's  never  have 
Till  I  see  how  his  hand  can  save  his  head." 

7  Old  Graham  called  for  an  account, 

And  he  ask'd  what  was  for  to  pay; 
There  he  paid  a  crown,  so  it  went  round. 
Which  was  all  for  good  wine  and  hay. 

8  Old  Graham  is  into  the  stable  gone. 

Where  stood  thirty  good  steeds  and  three; 
He's  taken  his  own  steed  by  the  head, 
And  home  rode  he  right  wantonly. 

9  When  he  came  home,  there  did  he  espy, 

A  loving  sight  to  spy  or  see, 
There  did  he  espy  his  own  three  sons. 
Young  Christy  Graham,  the  foremost  was  he. 


Bewick  and  Graham  71 

10  There  did  he  espy  his  own  three  sons, 

Young  Christy  Graham,  the  foremost  was  he: 
"Where  have  you  been  all  day,  father, 
That  no  counsel  you  would  take  by  me?" 

11  "Nay,  I  have  been  in  Carlisle  town, 

Where  Sir  Robert  Bewick  there  met  me; 
He  said  thou  was  bad,  and  caU'd  thee  a  lad, 
And  a  baffled  man  by  thou  I  be. 

12  "He  said  thou  was  bad,  and  call'd  thee  a  lad, 

And  buUy  to  his  son  cannot  be; 
For  his  son  Bewick  can  both  write  and  read. 
And  sure  I  am  that  cannot  thee. 


13  "I  put  thee  to  school,  but  thou  would  not  learn, 

I  bought  thee  books,  but  thou  would  not  read; 
But  my  blessing  thou's  never  have 
Till  I  see  with  Bewick  thou  can  save  thy  head." 

14  "Oh,  pray  forbear,  my  father  dear; 

That  ever  such  a  thing  should  be ! 
Shall  I  venture  my  body  in  field  to  fight 
With  a  man  that's  faith  and  troth  to  me?" 

15  "What's  that  thou  say'st,  thou  limmer  loon? 

Or  how  dare  thou  stand  to  speak  to  me? 
If  thou  do  not  end  this  quarrel  soon, 
Here's  my  glove  thou  shalt  fight  me." 

16  Christy  stoop'd  low  unto  the  ground, 

Unto  the  ground,  as  you'll  understand: 
"O  father,  put  on  your  glove  again. 
The  wind  hath  blown  it  from  your  hand." 


72  Old  Ballads 

17  "What's  that  thou  say'st,  thou  Hmmer  loon? 

Or  how  dare  thou  stand  to  speak  to  me? 
If  thou  do  not  end  this  quarrel  soon, 
Here  is  my  hand  thou  shalt  fight  me." 

18  Christy  Graham  is  to  his  chamber  gone, 

And  for  to  study,  as  well  might  be, 
Whether  to  fight  with  his  father  dear, 
Or  with  his  bully  Bewick  he. 

19  "If  it  be  my  fortune  my  bully  to  kill. 

As  you  shall  boldly  understand, 
In  every  town  that  I  ride  through. 
They'll  say,  There  rides  a  brotherless  man! 

20  "Nay,  for  to  kill  my  bully  dear, 

I  think  it  will  be  a  deadly  sin; 
And  for  to  kill  my  father  dear, 
The  blessing  of  heaven  I  ne'er  shall  win. 

21  "O  give  me  your  blessing,  father,"  he  said, 

"And  pray  well  for  me  for  to  thrive; 
If  it  be  my  fortune  my  bully  to  kill, 
I  swear  I'll  ne'er  come  home  alive." 

22  He  put  on  his  back  a  good  plate- jack, 

And  on  his  head  a  plate  of  steel. 
With  sword  and  buckler  by  his  side; 

0  gin  he  did  not  become  them  well! 

23  "O  fare  thee  well,  my  father  dear; 

And  fare  thee  well,  thou  Carlisle  town! 
If  it  be  my  fortune  my  bully  to  kill, 

1  swear  I'll  ne'er  eat  bread  again." 


Bewick  and  Graham  73 

24  Now  we'll  leave  talking  of  Christy  Graham, 

And  talk  of  him  again  belive; 
But  we  will  talk  of  bonny  Bewick, 
Where  he  was  teaching  his  scholars  five. 

25  Now  when  he  had  learn'd  them  well  to  fence. 

To  handle  their  swords  without  any  doubt, 
He's  taken  his  own  sword  under  his  arm. 
And  walk'd  his  father's  close  about. 


26  He  look'd  between  him  and  the  sun. 

To  see  what  farleys  he  could  see; 
There  he  spy'd  a  man  with  armor  on, 
As  he  came  riding  over  the  lee. 

27  "I  wonder  much  what  man  yon  be 

That  so  boldly  this  way  does  come; 
I  think  it  is  my  nighest  friend, 
I  think  it  is  my  bully  Graham. 

28  "0  welcome,  O  welcome,  bully  Graham! 

O  man,  thou  art  my  dear,  welcome! 

0  man,  thou  art  my  dear,  welcome! 
For  I  love  thee  best  in  Christendom!" 

29  "Away,  away,  0  buUy  Bewick, 

And  of  thy  buUyship  let  me  be! 
The  day  is  come  I  never  thought  on ; 
Bully,  I'm  come  here  to  fight  with  thee." 

30  "O  no!  not  so,  O  bully  Graham! 

That  e'er  such  a  word  should  spoken  be! 

1  was  thy  master,  thou  was  my  scholar; 
So  well  as  I  have  learned  thee." 


74  Old  Ballads 

31  "  My  father  he  was  in  Carlisle  town, 

Where  thy  father  Bewick  there  met  he; 
He  said  I  was  bad,  and  he  call'd  me  a  lad, 
And  a  baffled  man  by  thou  I  be." 

32  "Away,  away,  O  bully  Graham, 

And  of  all  that  talk,  man,  let  us  be! 
We'll  take  three  men  of  either  side. 
To  see  if  we  can  our  fathers  agree." 

33  "Away,  away,  O  bully  Bewick, 

And  of  thy  bullyship  let  me  be! 
But  if  thou  be  a  man,  as  I  trow  thou  art. 
Come  over  this  ditch  and  fight  with  me." 

34  "O  no!  not  so,  my  bully  Graham! 

That  e'er  such  a  word  should  spoken  be! 
Shall  I  venture  my  body  in  field  to  fight 
With  a  man  that's  faith  and  troth  to  me?" 

35  "Away,  away,  O  bully  Bewick, 

And  of  all  that  care,  man,  let  us  be! 
If  thou  be  a  man,  as  I  trow  thou  art, 
Come  over  this  ditch  and  fight  with  me." 

36  "Now,  if  it  be  my  fortune  thee,  Graham,  to  kill, 

As  God's  will's,  man,  it  all  must  be; 
But  if  it  be  my  fortune  thee,  Graham,  to  kill, 
'T  is  home  again  I'll  never  gae." 

37  "Thou  art  of  my  mind  then,  bully  Bewick, 

And  sworn-brethren  will  we  be; 
If  thou  be  a  man,  as  I  trow  thou  art, 
Come  over  this  ditch  and  fight  with  me." 


Bewick  and  Graham  75 

38  He  flang  his  coat  off  his  shoulder, 

His  psalm-book  out  of  his  hand  flang  he, 
He  clapp'd  his  hand  upon  the  hedge, 
And  o'er  lap  he  right  wantonly. 

39  When  Graham  did  see  his  bully  come, 

The  salt  tear  stood  long  in  his  eye: 
"Now  needs  must  I  say  that  thou  art  a  man. 
That  dare  venture  thy  body  to  fight  with  me. 

40  "Now  I  have  a  harness  on  my  back; 

I  know  that  thou  hath  none  on  thine; 
But  as  little  as  thou  hath  on  thy  back, 
Sure  as  little  shall  there  be  on  mine." 

41  He  flang  his  jack  from  off  his  back. 

His  steel  cap  from  his  head  flang  he; 
He's  taken  his  sword  into  his  hand, 
He's  tied  his  horse  unto  a  tree. 

42  Now  they  fell  to  it  with  two  broad  swords, 

For  two  long  hours  fought  Bewick  and  he; 
Much  sweat  was  to  be  seen  on  them  both, 
But  never  a  drop  of  blood  to  see. 

43  Now  Graham  gave  Bewick  an  ackward  stroke, 

An  ackward  stroke  surely  struck  he; 
He  struck  him  now  under  the  left  breast. 
Then  down  to  the  ground  as  dead  fell  he. 

44  "Arise,  arise,  O  bully  Bewick, 

Arise,  and  speak  three  words  to  me! 
Whether  this  be  thy  deadly  wound. 
Or  God  and  good  surgeons  will  mend  thee." 


^^  Old  Ballads 

45  "  0  horse,  0  horse,  O  bully  Graham, 

And  pray  do  get  thee  far  from  me! 
Thy  sword  is  sharp,  it  hath  wounded  my  heart, 
And  so  no  further  can  I  gae. 

46  "  O  horse,  O  horse,  O  bully  Graham, 

And  get  thee  far  from  me  with  speed! 
And  get  thee  out  of  this  country  quite! 

That  none  may  know  who's  done  the  deed." 

47  "O  if  this  be  true,  my  bully  dear, 

The  words  that  thou  dost  tell  to  me, 
The  vow  I  made,  and  the  vow  I'll  keep: 
I  swear  I'll  be  the  first  that  die." 


48  Then  he  stuck  his  sword  in  a  moody-hill, 

Where  he  lap  thirty  good  foot  and  three; 
First  he  bequeathed  his  soul  to  God, 
And  upon  his  own  sword-point  lap  he. 

49  Now  Graham  he  was  the  first  that  died, 

And  then  came  Robin  Bewick  to  see: 
"Arise,  arise,  O  son!"  he  said, 
"For  I  see  thou's  won  the  victory. 

so  "Arise,  arise,  O  son!"  he  said, 

"For  I  see  thou's  won  the  victory." 
"  Father,  could  ye  not  drunk  your  wine  at  home, 
And  letten  me  and  my  brother  be? 

51  "Nay,  dig  a  grave  both  low  and  wide, 
And  in  it  us  two  pray  bury; 
But  bury  my  bully  Graham  on  the  sun-side, 
For  I'm  sure  he's  won  the  victory." 


Young  Waters  'J'J 

52  Now  we'll  leave  talking  of  these  two  brethren, 

In  Carlisle  town  where  they  lie  slain, 
And  talk  of  these  two  good  old  men, 
Where  they  were  making  a  pitiful  moan. 

53  With  that  bespoke  now  Robin  Bewick: 

"O  man,  was  I  not  much  to  blame? 
I  have  lost  one  of  the  liveliest  lads 
That  ever  was  bred  unto  my  name." 

54  With  that  bespoke  my  good  lord  Graham: 

"O  man,  I  have  lost  the  better  block; 
I  have  lost  my  comfort  and  my  joy, 

I  have  lost  my  key,  I  have  lost  my  lock. 

55  "Had  I  gone  through  all  Ladderdale, 

And  forty  horses  had  set  on  me. 
Had  Christy  Graham  been  at  my  back, 
So  well  as  he  would  guarded  me." 

s6  I  have  no  more  of  my  song  to  sing, 

But  two  or  three  words  to  you  I'll  name; 
But  't  will  be  talk'd  in  Carlisle  town 

That  these  two  old  men  were  all  the  blame. 


YOUNG  WATERS 

1  About  Yule,  when  the  wind  blew  cule 

And  the  round  tables  began, 
A'  there  is  come  to  our  king's  court 
Mony  a  well-favor'd  man. 

2  The  queen  luikt  o'er  the  castle  wa', 

Beheld  baith  dale  and  down, 
And  then  she  saw  young  Waters 
Come  riding  to  the  town. 


78  Old  Ballads 

3  His  footmen  thej^  did  rin  before, 
His  horsemen  rade  behind; 
Ane  mantle  of  the  burning  gowd 
Did  keep  him  frae  the  wind. 


4 


Gowden-graith'd  his  horse  before, 

And  siller-shod  behind; 
The  horse  young  Waters  radc  upon 

Was  fleeter  than  the  wind. 

5  Out  then  spak'  a  wily  lord, 

Unto  the  queen  said  he: 
"O  tell  me  wha's  the  fairest  face 
Rides  in  the  company?" 

6  "I've  seen  lord,  and  I've  seen  laird. 

And  knights  of  high  degree, 
But  a  fairer  face  than  young  Waters 
Mine  eyne  did  never  see." 

7  Out  then  spak'  the  jealous  king 

And  an  angry  man  was  he: 
"O  if  he  had  been  twice  as  fair. 
You  micht  have  excepted  me." 

8  "You're  neither  laird  nor  lord,"  she  says, 

"But  the  king  that  wears  the  crown; 
There  is  not  a  knight  in  fair  Scotland, 
But  to  thee  maun  bow  down." 

9  For  a'  that  she  could  do  or  say, 

Appeas'd  he  wad  nae  be; 
But  for  the  words  which  she  had  said, 
Young  Waters  he  maun  die. 


The  Battle  of  Otterburn  79 

10  They  hae  ta'en  young  Waters, 

And  put  fetters  to  his  feet; 
They  hae  ta'en  young  Waters, 
And  thrown  him  in  dungeon  deep. 

11  "Aft  I  have  ridden  thro'  Stirling  town, 

In  the  wind  but  and  the  weet; 
But  I  ne'er  rade  thro'  StirUng  town 
Wi'  fetters  at  my  feet. 

12  "  Aft  have  I  ridden  thro'  Stirling  town, 

In  the  wind  but  and  the  rain; 
But  I  ne'er  rade  thro'  Stirling  town 
Ne'er  to  return  again." 

13  They  hae  ta'en  to  the  heiding-hill 

His  young  son  in  his  craddle; 
And  they  hae  ta'en  to  the  heading-hill 
His  horse  but  and  his  saddle. 

14  They  hae  ta'en  to  the  heiding-hill 

His  lady  fair  to  see; 
And  for  the  words  the  queen  had  spoke 
Young  Waters  he  did  die. 

THE  BATTLE  OF  OTTERBURN 

1  It  fell  about  the  Lammas  tide, 

When  the  muir-mcn  win  their  hay, 
The  doughty  Douglas  boun'd  him  to  ride 
Into  England,  to  drive  a  prey. 

2  He  chose  the  Gordons  and  the  Graemes, 

With  them  the  Lindsays,  light  and  gay; 
But  the  Jardines  wald  not  with  him  ride, 
And  they  rue  it  to  this  day. 


80  Old  Ballads 

3  And  he  has  burn'd  the  dales  of  Tyne, 

And  part  of  Bambrough  shire; 
And  three  good  towers  on  Reidswire  fells, 
He  left  them  all  on  fire. 

4  And  he  march'd  up  to  Newcastle, 

And  rode  it  round  about; 
"O  wha's  the  lord  of  this  castle, 
O  wha's  the  lady  o't?" 

5  But  up  spake  proud  Lord  Percy  then, 

And  O  but  he  spake  high! 

"I  am  the  lord  of  this  castle, 

My  wife's  the  lady  gay." 

6  "If  thou'rt  the  lord  of  this  castle, 

Sae  weel  it  pleases  me! 
For,  ere  I  cross  the  Border  fells, 
The  tane  of  us  shall  die." 

7  He  took  a  lang  spear  in  his  hand. 

Shod  with  the  metal  free. 
And  for  to  meet  the  Douglas  there. 
He  rode  right  furiously. 

8  But  O  how  pale  his  lady  look'd, 

Frae  aff  the  castle  wa', 
When  down  before  the  Scottish  spear 
She  saw  proud  Percy  fa'. 

Q  "Had  we  twa  been  upon  the  green, 
And  never  an  eye  to  see, 
I  wad  hae  had  you,  flesh  and  fell; 
But  your  sword  shall  gae  wi'  me." 


The  Battle  of  Otterburn  8i 

10  "But  gae  ye  up  to  Otterburn, 

And  wait  there  dayis  three; 
And  if  I  come  not  ere  three  dayis'  end, 
A  fause  knight  ca'  yc  me." 

11  "The  Otterburn's  a  bonnie  burn; 

'Tis  pleasant  there  to  be; 
But  there  is  nought  at  Otterburn, 
To  feed  my  men  and  me. 

12  "The  deer  rins  wild  on  hill  and  dale, 

The  birds  fly  wild  from  tree  to  tree; 
But  there  is  neither  bread  nor  kale, 
To  fend  my  men  and  me. 

13  "Yet  I  will  stay  at  Otterburn, 

Where  you  shall  welcome  be; 
And  if  ye  come  not  at  three  dayis'  end, 
A  fause  lord  I'll  ca'  thee." 


14  "Thither  will  I  come,"  proud  Percy  said, 

"By  the  might  of  Our  Ladie!" 
"There  will  I  bide  thee,"  said  the  Douglas, 
"My  troth  I  plight  to  thee." 

15  They  lighted  high  on  Otterburn, 

Upon  the  bent  sae  brown; 
They  lighted  high  on  Otterburn, 
And  threw  their  pallions  down. 

16  And  he  that  had  a  bonnie  boy. 

Sent  out  his  horse  to  grass; 
And  he  that  had  not  a  bonnie  boy, 
His  ain  servant  he  was. 


82  Old  Ballads 

17  But  up  then  spake  a  little  page, 

Before  the  peep  of  dawn — 
"O  waken  ye,  waken  ye,  my  good  lord, 
For  Percy's  hard  at  hand." 

18  "Ye  He,  ye  lie,  ye  liar  loud! 

Sae  loud  I  hear  ye  lie: 
For  Percy  had  not  men  yestreen 
To  dight  my  men  and  me. 


Haymaking 
From  an  old  English  calendar 

ig  "But  I  have  dream'd  a  dreary  dream, 
Beyond  the  Isle  of  Sky; 
I  saw  a  dead  man  win  a  fight, 
And  I  think  that  man  was  I." 

20  He  belted  on  his  guid  braid  sword, 

And  to  the  field  he  ran; 
But  he  forgot  the  helmet  good, 
That  should  have  kept  his  brain. 

21  When  Percy  wi'  the  Douglas  met, 

I  wat  he  was  fu'  fain; 
They  swakked  their  swords,  till  sair  they  swat, 
And  the  blood  ran  down  like  rain. 

22  But  Percy  with  his  guid  broad  sword, 

That  could  so  sharply  wound. 
Has  wounded  Douglas  on  the  brow, 
Till  he  fell  to  the  ground. 


The  Battle  of  Otterburn  83 

23  Then  he  call'd  on  his  Htlle  foot-page, 

And  said — "Run  speedily, 
And  fetch  my  ain  dear  sister's  son, 
Sir  Hugh  Montgomery. 

24  "My  nephew  good,"  the  Douglas  said, 

"What  recks  the  death  of  ane! 
Last  night  I  dream'd  a  dreary  dream, 
And  I  ken  the  day's  thy  ain. 

25  "My  wound  is  deep;  I  fain  would  sleep; 

Take  thou  the  vanguard  of  the  three, 
And  hide  me  by  the  bracken  bush 
That  grows  on  yonder  lily  lea. 

26  "O  bury  me  by  the  bracken  bush, 

Beneath  the  blooming  briar. 
Let  never  living  mortal  ken 

That  ere  a  kindly  Scot  lies  here." 

27  He  lifted  up  that  noble  lord, 

Wi'  the  saut  tear  in  his  ee; 
He  hid  him  in  the  bracken  bush, 
That  his  merry-men  might  not  see. 

28  The  moon  was  clear,  the  day  drew  near, ' 

The  spears  in  flinders  flew, 

But  mony  a  gallant  Englishman 

Ere  day  the  Scotsmen  slew. 

29  The  Gordons  good,  in  English  blood 

They  steep'd  their  hose  and  shoon; 
The  Lindsays  flew  like  fire  about, 
Till  all  the  fray  was  done. 

30  The  Percy  and  Montgomery  met. 

That  either  of  other  were  fain; 
They  swapped  swords,  and  they  twa  swat, 
And  aye  the  blood  ran  down  between. 


84 


Old  Ballads 


31 


32 


33 


'Now  yield  thee,  yield  thee,  Percy,"  he  said, 

"Or  else  I  vow  I'll  lay  thee  low!" 
"To  whom  must  I  yield,"  quoth  Earl  Percy, 

"Now  that  I  see  it  must  be  so?" 

"  Thou  shalt  not  yield  to  lord  iior  loon, 

Nor  yet  shalt  thou  yield  to  me; 
But  yield  thee  to  the  bracken  bush 

That  grows  upon  yon  lily  lea." 

"I  will  not  yield  to  a  bracken  bush, 

Nor  yet  will  I  yield  to  a  briar; 
But  I  would  yield  to  Earl  Douglas, 

Or  Sir  Hugh  the  Montgomery,  if  he  were  here." 

34  As  soon  as  he  knew  it  was  Montgomery, 

He  struck  his  sword's  point  in  the  ground; 
The  Montgomery  was  a  courteous  knight. 
And  quickly  took  him  by  the  hand. 

35  This  deed  was  done  at  the  Otterburn, 

About  the  breaking  of  the  day; 
Earl  Douglas  was  buried  at  the  bracken  bush 
And  the  Percy  led  captive  away. 


THE  HUNTING  OF  THE  CHEVIOT 


?5T^ 


■}i-is 


:S=Sz:S 


:ff=ff: 


k=tu=s=^=t 


^ 


S 


355^ 


m 


^ga^^^B 


The  Percy  out  of  Northumberland, 

And  avow  to  God  made  he 
That  he  wold  hunt  in  the  mountains 

Of  Cheviot  within  days  three. 
In  the  maugre  of  the  doughty  Douglas, 

And  all  that  ever  with  him  be. 


The  Hunting  of  the  Cheviot  85 

2  The  fattest  harts  in  all  Cheviot 

He  said  he  would  kill,  and  carry  them  away: 
"By  my  faith,"  said  the  doughty  Douglas  again, 
"I  will  let  that  hunting  if  that  I  may." 

3  Then  the  Percy  out  of  Bamborough  cam, 

With  him  a  mighty  meinie, 
With  fifteen  hundrith  archers  bold  of  blood  and  bone; 
They  were  chosen  out  of  shires  three. 

4  This  began  on  a  IVIonday  at  morn, 

In  Cheviot  the  hilles  so  hie; 
The  child  may  rue  that  is  unborn, 
It  is  the  more  pitie. 

5  The  drivers  thorough  the  woodes  went, 

For  to  raise  the  deer; 
BowTnen  bickered  upon  the  bent 
With  their  broad  arrows  clear. 

6  Then  the  wild  thorough  the  woodes  went, 

On  ever>^  side  shere; 
Greyhounds  thorough  the  grevcs  glent, 
For  to  kill  their  deer. 

7  This  began  in  Cheviot  the  hills  aboon, 

Yerly  on  a  Monen-day; 
By  that  it  drew  to  the  hour  of  noon, 
A  hundrith  fat  harts  dead  there  lay. 

8  They  blew  a  mort  upon  the  bent, 

They  'sembled  on  sides  shere; 
To  the  querry  then  the  Percy  went. 
To  see  the  brittling  of  the  deer. 

9  He  said,  "It  was  the  Douglas'  promise 

This  day  to  meet  me  here; 
But  I  wist  he  wold  fail,  verament;" 
A  great  oath  the  Percy  sware. 


86  Old  Ballads 

10  At  the  last  a  squire  of  Northumberland 

Looked  at  his  hand  full  nie; 
He  was  ware  o'  the  doughty  Douglas  coming, 
With  him  a  mighty  meinie. 

11  Both  with  spear,  bill,  and  brand. 

It  was  a  mighty  sight  to  see; 
Hardier  men,  both  of  heart  nor  hand, 
Were  not  in  Christiantie. 

12  They  were  twenty  hundrith  spear-men  good, 

Without  any  fail; 
They  were  born  along  by  the  water  o'  Tweed, 
I'  th'  boundes  of  Tividale. 

13  "Leave  off  the  brittling  of  the  deer,"  he  said, 

"And  to  your  bowes  look  ye  take  good  heed; 
For  never  sith  ye  were  on  your  mothers  born 
Had  ye  never  so  mickle  need." 

14  The  doughty  Douglas  on  a  steed, 

He  rode  all  his  men  beforn; 
His  armor  glittered  as  did  a  gleed;  ^ 
A  bolder  barn  was  never  born. 

15  "Tell  me  whose  men  ye  are,"  he  says, 

"Or  whose  men  that  ye  be: 
Who  gave  you  leave  to  hunt  in  this  Cheviot  chase, 
In  the  spite  of  mine  and  of  me." 

16  The  first  man  that  ever  him  an  answer  made, 

It  was  the  good  lord  Percy: 
"We  will  not  tell  thee  whose  men  we  are,"  he  says, 

"Nor  whose  men  that  we  be; 
But  we  will  hunt  here  in  this  chase, 

In  the  spite  of  thine  and  of  thee. 


The  Hunting  of  the  Cheviot  87 

17  "The  fattest  harts  in  all  Cheviot 

We  have  killed,  and  cast  to  carry  them  away:" 
■'By  my  troth,"  said  the  doughty  Douglas  again, 
"Therefore  the  tone  of  us  shall  die  this  day." 

18  Then  said  the  doughty  Douglas 

Unto  the  lord  Percy: 
"  To  kill  all  these  guiltless  men, 
Alas,  it  were  great  pitie! 

19  "But,  Percy,  thou  art  a  lord  of  land, 

I  am  a  yerl  called  within  my  countric; 
Let  all  our  men  upon  a  party  stand. 
And  do  the  battle  of  thee  and  of  me." 

20  "Now  Christ's  curse  on  his  crown,"  said  the  lord  Percy, 

"Whosoever  thereto  says  nay! 
By  my  troth,  doughty  Douglas,"  he  says,     ' 
"  Thou  shalt  never  see  that  day, 

21  "Neither  in  England,  Scotland,  nor  France, 

Nor  for  no  man  of  a  woman  born. 
But,  and  fortune  be  my  chance, 
I  dare  meet  him,  one  man  for  one." 

22  Then  bespake  a  squire  of  Northumberland, 

Richard  Witherington  was  his  name: 
"It  shall  never  be  told  in  South-England,"  he  says, 
"To  king  Harry  the  Fourth,  for  shame. 

23  "I  wat  you  been  great  lordes  twa, 

I  am  a  poor  squire  of  land; 
I  wiU  never  see  my  captain  fight  on  a  field. 

And  stand  myself  and  look  on, 
But  while  I  may  my  weapon  wield, 

I  will  not  fail,  both  heart  and  hand." 


^8  Old  Ballads 

24  That  day,  that  day,  that  dreadful  day! 

The  first  fitt  here  I  find; 
And  you  will  hear  any  more  o'  the  hunting  o'  the  Cheviot, 
Yet  there  is  more  behind. 

25  The  English  men  had  their  bowes  ybcnt, 

Their  hearts  were  good  enough; 
The  first  of  arrows  that  they  shot  off, 
Seven  score  spear-men  they  slough. 

26  Yet  bides  the  lord  Douglas  upon  the  bent, 

A  captain  good  enough. 
And  that  was  seen  veramcnt, 

For  he  wrought  hem  both  woe  and  wouch. 

27  The  Douglas  parted  his  ost  in  three, 

Like  a  chief  captain  of  pride; 

With  sure  spears  of  mighty  tree, 

They  come  in  on  every  side; 

28  Through  our  English  archery 

Ga\-e  many  a  wound  full  wide; 
Many  a  doughty  they  garr'd  to  die, 
Which  gained  them  no  pride. 

29  The  English  men  let  their  bowes  be. 

And  puUed  out  brands  that  were  bright; 
It  was  a  heavy  sight  to  see 
Bright  swords  on  basnets  light. 

30  Thorough  rich  mail  and  maniple. 

Many  stern  they  struck  down  straight; 
Many  a  freak  that  was  full  free, 
There  under  foot  did  light. 


The  Hunting  of  the  Cheviot  89 

31  At  last  the  Douglas  and  the  Percy  met, 

Like  to  captains  of  might  and  of  main; 
They  swapt  together  tUl  they  both  swat, 
With  swords  that  were  of  fine  milan. 

32  These  worthy  freakes  for  to  fight, 

Thereto  they  were  full  fain, 
Till  the  blood  out  of  their  basnets  sprent, 
As  ever  did  hail  or  rain. 

33  "Yield  thee,  Percy,"  said  the  Douglas, 

"And  i'  faith  I  shall  thee  bring 
Where  thou  shalt  have  a  yerl's  wages 
Of  Jamy  our  Scottish  king. 

34  "Thou  shalt  have  thy  ransom  free, 

I  hight  thee  hear  this  thing; 
For  the  manfullest  man  yet  art  thou 

That  ever  I  conquered  in  field  fighting."  ■ 

35  "Nay,"  said  the  lord  Percy, 

"I  told  it  thee  beforn, 
That  I  would  never  yielded  be 
To  no  man  of  a  woman  born." 

36  With  that  there  cam  an  arrow  hastily, 

Forth  of  a  mighty  wane; 
Hit  hath  streaken  the  yerl  Douglas 
In  at  the  breast-bane. 

37  Thorough  Uver  and  lunges  baith 

The  sharp  arrow  is  gane. 
That  never  after  in  all  his  hfe-days 

He  spake  mo  wordes  but  ane: 
That  was,  "  Fight  ye,  my  merry  men,  whiles  ye  may, 

For  my  life-days  been  gane." 


90  Old  Ballads 

38  The  Percy  leaned  on  his  brand, 

And  saw  the  Douglas  die; 
He  took  the  dead  man  by  the  hand, 
And  said,  "Woe  is  me  for  thee! 

39  "To  have  saved  thy  life,  I  wold  have  parted  with 

My  lands  for  years  three, 
For  a  better  man,  of  heart  nor  of  hand. 
Was  nat  in  all  the  north  countrie." 


A  Battle  Scene 
From  an  old  MS. 

40  Of  all  that  see  a  Scottish  knight, 

Was  called  Sir  Hugh  the  Montgomery; 
He  saw  the  Douglas  to  the  death  was  dight, 
He  spended  a  spear,  a  trusty  tree. 

41  He  rode  upon  a  courser 

Through  a  hundrith  archery: 
He  never  stinted,  nor  never  blan, 
Till  he  cam  to  the  good  lord  Percy. 

42  He  set  upon  the  lord  Percy 

A  dint  that  was  full  sore; 
With  a  sure  spear  of  a  mighty  tree 

Clean  thorough  the  body  he  the  Percy  bear, 


The  Hunting  of  the  Cheviot  91 

43  O'  the  other  side  that  a  man  might  see 

A  large  cloth-yard  and  mare: 
Two  better  captains  were  not  in  Christiantie 
Then  that  day  slain  were  there. 

44  An  archer  of  Northumberland 

Say  slain  was  the  lord  Percy; 
He  bar  a  bend  bow  in  his  hand, 
Was  made  of  trusty  tree. 

45  An  arrow  that  a  cloth-yard  was  lang 

To  the  hard  steel  haled  he; 
A  dint  that  was  both  sad  and  sore 
He  sat  on  Sir  Hugh  the  IVIontgomery. 

46  The  dint  it  was  both  sad  and  sair 

That  he  of  Montgomery  set; 
The  swan-feathers  that  his  arrow  bar, 
With  his  heart-blood  they  were  wet. 

47  There  was  never  a  freak  one  foot  wold  flee, 

But  still  in  stour  did  stand, 
Hewing  on  each  other,  while  they  might  dree, 
With  many  a  baleful  brand. 

48  This  battle  began  in  Cheviot 

An  hour  before  the  noon, 
And  when  even-song  bell  was  rang, 
The  battle  was  not  half  done. 

49  They  took  ...  on  either  hand 

By  the  light  of  the  moon; 
Many  had  no  strength  for  to  stand, 
In  Cheviot  the  hUles  aboon. 

so  Of  fifteen  hundrith  archers  of  England 
Went  away  but  seventy  and  three; 
Of  twenty  hundrith  spear-men  of  Scotland, 
But  even  five  and  fiftie. 


92  Old  Ballads 

51  But  all  were  slain  Cheviot  within; 

They  had  no  strength  to  stand  on  by; 
The  child  may  rue  that  is  unborn, 
It  was  the  more  pitie. 

52  There  was  slain,  with  the  lord  Percy, 

Sir  Johan  of  Agerstone, 
Sir  Roger,  the  hind  Hartley, 
Sir  William,  the  bold  Heron. 

53  Sir  George,  the  worthy  Lumley, 

A  knight  of  great  renown, 
Sir  Raff,  the  rich  Rugby, 

With  dints  were  beaten  do-\vn. 

54  For  Witherington  my  heart  was  woe, 

That  ever  he  slain  should  be; 
For  when  both  his  legges  v/ere  hewen  in  two, 
Yet  he  kneeled  and  fought  on  his  knee. 

55  There  was  slain,  with  the  doughty  Douglas, 

Sir  Hugh  the  Montgomery, 
Sir  Davy  Lowdale,  that  worthy  was, 
His  sister's  son  was  he. 

56  Sir  Charles  o'  Murray  in  that  place, 

That  never  a  foot  wold  flee; 
Sir  Hugh  Maxwell,  a  lord  he  was, 
With  the  Douglas  did  they  die. 

57  So  on  the  morrow  they  made  them  biers 

Of  birch  and  hazel  so  gray; 
Many  widows,  with  weeping  tears, 
Cam  to  fache  their  makes  away. 


The  Hunting  of  the  Cheviot  93 

58  Tivydale  may  carp  of  care, 

Northumberland  may  make  great  moan, 
For  two  such  captains  as  slain  were  there 
On  the  March-party  shall  never  be  none. 

59  Word  is  comen  to  Edinboro, 

To  Jamy  the  Scottish  king, 
That  doughty  Douglas,  lieftenant  of  the  Marches, 
He  lay  slain  Cheviot  within. 

60  His  handes  did  he  weal  and  wring. 

He  said,  "Alas,  and  woe  is  me! 
Such  another  captain  Scotland  within," 
He  said,  "i'  faith  shold  never  be." 

61  Word  is  comen  to  lovely  London, 

Till  the  fourth  Harry  our  King, 
That  lord  Percy,  lieftenant  of  the  Marches, 
He  lay  slain  Cheviot  within. 

62  "God  have  mercy  on  his  soul,"  said  King  Harry, 

"Good  Lord,  if  thy  will  it  be! 
I  have  a  hundrith  captains  in  England,"  he  said, 

"As  good  as  ever  was  he: 
But,  Percy,  and  I  brook  my  life. 

Thy  death  well  quit  shall  be." 

63  As  our  noble  king  made  his  avow, 

Like  a  noble  prince  of  renown, 
pQr  the  death  of  the  lord  Percy 
He  did  the  battle  of  Hombildown; 

64  Where  six  and  thrifty  Scottish  knights 

On  a  day  were  beaten  down; 
Glendale  glittered  on  their  armor  bright, 
Over  castle,  tower,  and  town. 


94  Old  Ballads 

6s  This  was  the  hunting  of  the  Cheviot, 
That  tear  began  this  spum; 
Old  men  that  knowen  the  ground  well  enough 
Call  it  the  battle  of  Otterburn. 

66  At  Otterburn  began  this  spurn, 

Upon  a  Monen-day; 
There  was  the  doughty  Douglas  slain, 
The  Percy  never  went  away. 

67  There  was  never  a  time  on  the  March-partes 

Sen  the  Douglas  and  the  Percy  met, 
But  it  is  mervel  and  the  red  blude  run  not, 
As  the  rain  does  in  the  street. 

68  Jesu  Christ  our  bales  beet, 

And  to  the  bliss  us  bring! 
Thus  was  the  hunting  of  the  Cheviot: 
God  send  us  all  good  ending. 

JOHN  IE  ARMSTRONG 

'i  There  dwelt  a  man  in  fair  Westmoreland, 
Johnie  Armstrong  men  did  him  call. 
He  had  neither  lands  nor  rents  coming  in. 
Yet  he  kept  eight  score  men  in  his  hall. 

2  He  had  horse  and  harness  for  them  all, 

Goodly  steeds  were  all  milk-white; 
O  the  golden  bands  an'  about  their  necks, 
And  their  weapons,  they  were  all  alike. 

3  News  then  was  brought  unto  the  king 

That  there  was  sic  a  one  as  he, 
That  lived  like  a  bold  out-law, 
And  robbed  all  the  north  countrie. 


Johnle  Armstrong  95 

4  The  king  he  writ  an'  a  letter  then, 

A  letter  which  was  large  and  long; 
He  signed  with  his  own  hand, 
And  he  promised  to  do  him  no  wrong. 

5  When  this  letter  came  Johnie  until, 

His  heart  it  was  bUthe  as  birds  on  the  tree: 
"Never  was  I  sent  for  before  any  king, 

My  father,  my  grandfather,  nor  none  but  me. 

6  "  And  if  we  go  the  king  before, 

I  would  we  went  most  orderly; 
Every  man  of  you  shall  have  his  scarlet  cloak, 
Laced  with  silver  laces  three. 

7  "  Every  one  of  you  shall  have  his  velvet  coat, 

Laced  with  silver  lace  so  white; 
O  the  golden  bands  an'  about  your  necks, 
Black  hats,  white  feathers,  all  alike." 

8  By  the  morrow  morning  at  ten  of  the  clock, 

Towards  Edinboro  gone  was  he, 
And  with  him  all  his  eight  score  men; 

Good  Lord,  it  was  a  goodly  sight  for  to  see! 

9  When  Johnie  came  before  the  king, 

He  fell  down  on  his  knee: 
"O  pardon,  my  sovereign  liege,"  he  said, 
"O  pardon  my  eight  score  men  and  me!  " 

10  "Thou  shalt  have  no  pardon,  thou  traitor  strong, 
For  thy  eight  score  men  nor  thee; 
For  to-morrow  morning  by  ten  of  the  clock, 
Both  thou  and  them  shall  hang  on  the  gallow-trce." 


96  Old  Ballads 

11  But  Johnic  looked  over  his  left  shoulder, 

Good  Lord,  what  a  grievious  look  looked  he! 
Saying,  "Asking  grace  of  a  graceless  face  — 
Why  there  is  none  for  you  nor  me." 

12  But  Johnie  had  a  bright  sword  by  his  side, 

And  it  was  made  of  the  metal  so  free, 
That  had  not  the  king  stept  his  foot  aside, 
He  had  smitten  his  head  from  his  fair  bodie. 

13  Saying,  "Fight  on,  my  merry  men  all, 

And  see  that  none  of  you  be  tane; 
For  rather  then  men  shall  say  we  were  hanged, 
Let  them  report  how  we  were  slain." 

14  Then,  God  wot,  fair  Edinboro  rose. 

And  so  beset  poor  Johnie  round, 
That  fourscore  and  ten  of  Johnie 's  best  men 
Lay  gasping  all  upon  the  ground. 

15  Then  like  a  mad  man  Johnie  laid  about, 

And  like  a  mad  man  then  fought  he. 

Until  a  false  Scot  came  Johnie  behind, 

And  run  him  through  the  fair  bodie. 

16  Saying,  "  Fight  on,  my  merry  men  all. 

And  see  that  none  of  you  be  tane; 
For  I  will  stand  by  and  bleed  but  awhile, 
And  then  will  I  come  and  fight  again." 

17  News  then  was  brought  to  young  Johnie  Armstrong, 

As  he  stood  by  his  nurse's  knee, 
Who  vowed  if  e'er  he  lived  for  to  be  a  man, 
0'  the  treacherous  Scots  revenged  he'd  be. 


Captain  Car,  or  Edom  o'  Gordon  97 

CAPTAIN  CAR,  OR  EDOM  O'  GORDON 


^i 


;^=s 


^t 


F*^ 

1 — r*1q 

-J 

t 
J^ T 

-     , 

• 

t^L^ 

S — * 

—i^ 

i — J_«L 

— — i 

»' rJ 1— 

— *— S^ 

^-^^^ 

^ 

1 \~ 

1  It  befell  at  Martinmas 

When  v/eather  waxed  cold, 
Captain  Car  said  to  his  men, 
"We  must  go  take  a  hold." 

Sick,  sick,  and  too-too  sick, 
And  sick  and  like  to  die; 

The  sickest  night  that  ever  I  abode, 
God  Lord  have  mercy  on  me. 

2  "Hail,  master,  and  whither  you  will, 

And  whither  ye  like  it  best." 
"To  the  castle  of  Craickernbrough; 
And  there  we  will  take  our  rest. 

3  "I  know  where  is  a  gay  castle, 

Is  builded  of  lime  and  stone, 
Within  there  is  a  gay  lady. 
Her  lord  is  ridden  and  gone." 

4  The  lady  she  leaned  on  her  castle-wall. 

She  looked  up  and  down; 
There  was  she  ware  of  an  host  of  men, 
Come  riding  to  the  town. 

5  "See  you,  my  merry  men  all, 

And  see  you  what  I  see; 
Yonder  I  see  an  host  of  men, 
I  muse  who  they  be." 


98  Old  Ballads 

.  6  She  thought  he  had  been  her  wed  lord, 
As  he  corned  riding  home; 
Then  was  it  traitor  Captain  Car, 
The  lord  of  Easter-town. 


7  They  were  no  sooner  at  supper  set, 

Then  after  said  the  grace, 

Or  Captain  Car  and  all  his  men 

Were  hght  about  the  place. 

8  "Give  over  this  house,  thou  lady  gay. 

And  I  will  make  thee  a  band; 
To-night  thou  shall  lie  within  my  arms. 
To-morrow  thou  shall  heir  my  land." 

g  Then  bespak  the  eldest  son, 

That  was  both  white  and  red, 
"O  mother  dear,  give  over  your  house, 
Or  elles  we  shall  be  dead." 

10  "I  will  not  give  over  my  house,"  she  saith, 

"Not  for  fear  of  my  life; 
It  shall  be  talked  throughout  the  land. 
The  slaughter  of  a  wife; 

11  "  Fetch  me  my  pestilet. 

And  charge  me  my  gun, 
That  I  may  shoot  at  yonder  bloody  butcher, 
The  lord  of  Easter-town." 

12  StifHy  upon  her  wall  she  stood, 

And  let  the  pellets  flee, 
But  then  she  missed  the  bloody  butcher, 
And  she  slew  other  three. 


Captain  Car,  or  Edom  o'  Gordon  99 

13  "I  will  not  give  over  my  house,"  she  saith, 
"Neither  for  lord  nor  loon, 
Nor  yet  for  traitor  Captain  Car, 
The  lord  of  Easter-town. 


14  "I  desire  of  Captain  Car, 

And  all  his  bloody  band, 
That  he  would  save  my  eldest  son, 
The  heir  of  all  my  land." 

15  "Lap  him  in  a  sheet,"  he  saith, 

"And  let  him  down  to  me. 
And  I  shall  take  him  in  my  arms, 
His  warran'  shall  I  be." 

16  The  captain  said  unto  himself; 

With  speed  before  the  rest. 
He  cut  his  tongue  out  of  his  head, 
His  heart  out  of  his  brest. 

17  He  lapt  them  in  a  handkerchief. 

And  knit  it  of  knots  three, 
And  cast  them  over  the  castle-wall 
At  that  gay  ladie. 

18  "Fie  upon  thee,  Captain  Car, 

And  all  thy  bloody  band. 
For  thou  hast  slain  my  eldest  son, 
The  heir  of  all  my  land." 

19  Then  bcspake  the  youngest  son, 

That  sat  on  the  nurse's  knee, 
Saith,  "Mother  gay,  give  over  your  house, 
It  smouldereth  me." 


100  Old  Ballads 

20  "I  would  give  my  gold,"  she  saith, 

"And  so  I  would  my  fee, 
For  a  blast  of  the  western  wind 
To  drive  the  smoke  from  thee. 

21  "Fie  upon  thee,  John  Hamilton, 

That  ever  I  paid  thee  hire, 
For  thou  hast  broken  my  castle-wall, 
And  kindled  in  the  fire." 

22  The  lady  gat  to  her  close  parlor, 

The  fire  fell  about  her  head; 
She  took  up  her  children  three, 
Saith,  "Babes,  we  are  all  dead." 

23  Then  bespake  the  high  steward. 

That  is  of  high  degree ; 
Saith,  "Lady  gay,  you  are  in  close, 
Whether  ye  fight  or  flee." 

24  Lord  Hamilton  dreamed  in  his  dream, 

In  Carvall  where  he  lay. 
His  hall  were  all  of  fire. 
His  lady  slain  or  day. 

25  "Busk  and  boun,  my  merry  men  all, 

Even  and  go  ye  with  me, 
For  I  dreamed  that  my  hall  was  on  fire, 
My  lady  slain  or  day." 

26  He  busked  him  and  bouned  him, 

And  like  a  worthy  knight, 
And  when  he  saw  his  hall  burning, 
His  heart  was  no  deal  light. 


Jock  o'  the  Side  loi 

27  He  set  a  trumpet  till  his  mouth, 

He  blew  as  it  pleased  his  grace; 
Twenty  score  of  Hamiltons 
Was  light  about  the  place. 

28  "Had  I  known  as  much  yesternight 

As  I  do  to-day, 
Captain  Car  and  aU  his  men 
Should  not  have  gone  so  quite  away. 

29  "Fie  upon  thee,  Captain  Car, 

And  all  thy  bloody  band; 
Thou  hast  slain  my  lady  gay. 
More  worth  then  all  thy  land. 

30  "If  thou  had  ought  any  ill  will,"  he  saith, 

"Thou  should  have  taken  my  life, 
And  have  saved  my  children  three, 
AU  and  my  lovesome  wife." 

JOCK  0'  THE  SIDE 

1  Peter  o'  Whitfield  he  hath  slain. 

And  John  o'  Side,  he  is  tane. 
And  John  is  bound  both  hand  and  foot, 
And  to  the  New  Castle  he  is  gone. 

2  But  tidings  came  to  the  Sybil  o'  the  Side, 

By  the  water-side  as  she  ran; 
She  took  her  kirtlc  by  the  hem. 
And  fast  she  run  to  Mangerton. 


3 


The  lord  was  set  down  at  his  meat; 
When  these  tidings  she  did  him  tell. 
Never  a  morsel  might  he  eat. 


'l02  Old  Ballads 

4  But  lords,  they  wrung  their  fingers  white, 

Ladies  did  pull  themselves  by  the  hair, 
Crying,  "Alas  and  welladay! 
For  John  o'  the  Side  we  shall  never  see  more. 

5  "But  we'll  go  sell  our  droves  of  kine, 

And  after  them  our  oxen  sell, 
And  after  them  our  troops  of  sheep, 
But  we  will  loose  him  out  of  the  New  Castell." 

6  But  then  bespake  him  Hobby  Noble, 

And  spoke  these  words  wondrous  hie; 
Says,  "Give  me  five  men  to  myself. 
And  I'll  fetch  John  o'  the  Side  to  thee." 

7  "Yea,  thou'st  have  five,  Hobby  Noble, 

Of  the  best  that  are  in  this  countrie; 
I'll  give  thee  five  thousand.  Hobby  Noble, 
That  walk  in  Tividale  trulie." 

8  "Nay,  I'll  have  but  five,"  says  Hobby  Noble, 

That  shall  walk  away  with  me ; 
We  will  ride  like  no  men  of  war; 
But  like  poor  badgers  we  will  be." 

9  They  stuffed  up  all  their  bags  with  straw. 

And  their  steeds  barefoot  must  be; 
"Come  on,  my  brethren,"  says  Hobby  Noble, 
"Come  on  your  ways,  and  go  with  me." 

lo  And  when  they  came  to  Chollerton  ford. 
The  water  was  up,  they  could  it  not  go; 
And  then  they  were  aware  of  a  good  old  man. 
How  his  boy  and  he  were  at  the  plow. 


Jock  o'  the  Side  103 

11  "But  stand  you  still,"  says  Hobby  Noble, 

"Stand  you  still  here  at  this  shore, 
And  I  will  ride  to  yonder  old  man, 
And  see  where  the  gate  it  lies  o'er. 

12  "But  Christ  you  save,  father!"  quoth  he, 

"  Christ  both  you  save  and  see! 
Where  is  the  way  over  this  ford? 
For  Christ's  sake  tell  it  me!" 


13  "But  I  have  dwelled  here  three  score  year. 

So  have  I  done  three  score  and  three; 
I  never  saw  man  nor  horse  go  o'er, 
Except  it  were  a  horse  of  tree." 

14  "But  fare  thou  well,  thou  good  old  man! 

The  devil  in  hell  I  leave  with  thee, 
No  better  comfort  here  this  night 
Thou  gives  my  brethren  here  and  me." 

15  But  when  he  came  to  his  brether  again, 

And  told  this  tidings  full  of  woe, 

-  And  then  they  found  a  well  good  gate 

They  might  ride  o'er  two  by  two. 

16  And  when  they  were  come  over  the  ford. 

All  safe  gotten  at  the  last, 
*' Thanks  be  to  God!"  says  Hobby  Noble, 
"The  worst  of  our  perill  is  past." 

17  And  then  they  came  into  Howbram  wood. 

And  there  then  they  found  a  tree, 
And  cut  it  down  then  by  the  root ; 
,  The  length  was  thirty  foot  and  three. 


'l04  Old  Ballads 

18  And  four  of  them  did  take  the  plank, 

As  light  as  it  had  been  a  flea, 

And  carried  it  to  the  New  Castle, 

Whereas  John  o'  Side  did  lie. 


19  And  some  did  climb  up  by  the  walls, 

And  some  did  climb  up  by  the  tree, 
Until  they  came  up  to  the  top  of  the  castle. 
Where  John  made  his  moan  truhe. 

20  He  said,  "God  be  with  thee,  Sybil  o'  the  Side! 

My  own  mother  thou  art,"  quoth  he; 
"If  thou  knew  this  night  I  were  here, 
A  woe  woman  then  wouldest  thou  be. 

21  "And  fare  you  well.  Lord  Mangerton! 

And  ever  I  say,  God  be  with  thee! 
For  if  you  knew  this  night  I  were  here. 
You  would  sell  your  land  for  to  loose  me. 

22  "And  fare  thou  well.  Much,  Miller's  son! 

Much,  Miller's  son,  I  say; 
Thou  has  been  better  at  merk  midnight 
Then  ever  thou  was  at  noon  o'  the  day. 

23  "And  fare  thou  well,  my  good  Lord  Clough! 

Thou  art  thy  father's  son  and  heir; 
Thou  never  saw  him  in  all  thy  life 

But  with  hun  durst  thou  break  a  spear. 

24  "We  are  brother's  children  nine  or  ten. 

And  sister's  children  ten  or  eleven. 
We  never  came  to  the  field  to  fight. 
But  the  worst  of  us  was  counted  a  man." 


Jock  o'  the  Side  I05 

25  But  then  bespake  him  Hobby  Noble, 
And  spake  these  words  unto  hhn; 
Says,  "Sleepest  thou,  wakest  thou,  John  o'  the  Side, 
Or  art  thou  this  castle  within?" 


26  "But  who  is  there,"  quoth  John  o'  th'  Side, 

"That  knows  my  name  so  right  and  free?" 
"I  am  a  bastard  brother  of  thine; 
This  night  I  am  comen  for  to  loose  thee." 

27  "Now  nay,  now  nay,"  quoth  John  o'  the  Side; 

"It  fears  me  sore  that  will  not  be; 
For  a  peck  of  gold  and  silver,"  John  said, 
"In  faith  this  night  will  not  loose  me." 

28  But  then  bespake  him  Hobby  Noble, 

And  till  his  brother  thus  said  he; 
Says,  "Four  shall  take  this  matter  in  hand, 
And  two  shall  tent  our  geldings  free." 

2g  Four  did  break  one  door  without, 
Then  John  brake  five  himsel' ; 
But  when  they  came  to  the  iron  door, 
It  smote  twelve  upon  the  bell, 

30  "It  fears  me  sore,"  said  Much,  the  Miller, 

"That  here  taken  we  all  shall  be;" 
"But  go  away,  brethren,"  said  John  o'  Side, 
"For  ever  alas!  this  will  not  be." 

31  "But  fie  upon  thee!"  said  Hobby  Noble; 

"Much,  the  Miller,  fie  upon  thee! 
It  sore  fears  me,"  said  Hobby  Noble, 
"Man  that  thou  wilt  never  be." 


io6  Old  Ballads 

32  But  then  he  had  Flanders  files  two  or  three, 

And  he  filed  down  that  iron  door, 
And  took  John  out  of  the  New  Castle, 
And  said,  "Look  thou  never  come  here  more!' 

33  When  he  had  him  forth  of  the  New  Castle, 

"Away  with  me,  John,  thou  shalt  ride;" 
But  ever  alas!  it  could  not  be; 

For  John  could  neither  sit  nor  stride. 

34  But  then  he  had  sheets  two  or  three, 

And  bound  John's  bolts  fast  to  his  feet, 
And  set  him  on  a  well  good  steed, 
Himself  on  another  by  him  seat. 

35  Then  Hobby  Noble  smiled  and  lough. 

And  spoke  these  words  in  mickle  pride: 
"  Thou  sits  so  finely  on  thy  gelding 
That,  John,  thou  rides  like  a  bride." 

36  And  when  they  came  thorough  Howbram  town, 

John's  horse  there  stumbled  at  a  stone; 
"Out  and  alas!"  cried  Much,  the  Miller, 
"John,  thou'll  make  us  all  be  tane." 

37  "But  fie  upon  thee!"  says  Hobby  Noble, 

"Much,  the  Miller,  fie  on  thee! 

I  know  fuU  well,"  says  Hobby  Noble, 

"Man  that  thou  wilt  never  be." 

38  And  when  they  came  into  Howbram  wood, 

He  had  Flanders  files  two  or  three 
To  file  John's  bolts  beside  his  feet. 
That  he  might  ride  more  easily. 


The  Baron  of  Brackley  107 

30  Says,  "John,  now  leap  over  a  steed!" 
And  John  then  he  lope  over  five: 
"I  know  well,"  says  Hobby  Noble, 
"John,  thy  fellow  is  not  alive." 

40  Then  he  brought  him  home  to  Mangerton; 

The  lord  then  he  was  at  his  meat; 
But  when  John  o'  the  Side  he  there  did  see, 
For  fain  he  could  no  more  eat. 

41  He  says,  "Blest  be  thou.  Hobby  Noble, 

That  ever  thou  wast  man  born! 
Thou  hast  fetched  us  home  good  John  o'  th'  Side, 
That  was  now  clean  from  us  gone." 


THE  BARON  OF  BRACKLEY 

1  Down  Dee  side  came  Inverey  whistling  and  playing; 
He's  lighted  at  Brackley  yates  at  the  day  dawing. 

2  Says,  "Baron  o'  Brackley,  O  are  ye  within? 

There's  sharp  swords  at  the  yate  will  gar  your  blood  spin." 

3  The  lady  raise  up,  to  the  window  she  went; 
She  heard  her  kye  lowing  o'er  hill  and  o'er  bent. 

4  "O  rise  up,  ye  baron,  and  turn  back  your  kye; 

For  the  lads  o'  Drumwharran  are  driving  them  by." 

5  "How  can  I  rise,  lady,  or  turn  them  again! 
Where'er  I  have  ae  man,  I  wot  they  hae  ten." 

6  "Then  rise  up,  my  lasses,  take  rocks  in  your  hand. 
And  turn  back  the  kye; — I  hae  you  at  command. 


Io8  Old  Ballads 

7  "  Gin  I  had  a  husband,  as  I  hae  nane, 

He  wadna  lie  in  his  bower,  see  his  kye  ta'en." 

8  Then  up  got  the  baron,  and  cried  for  his  graith; 
Says,  "Lady,  I'll  gang,  tho'  to  leave  you  I'm  laith. 

9  "Come  kiss  me,  then,  Peggy,  and  gie  me  my  spear; 
I  ay  was  for  peace,  though  I  never  fear'd  weir. 

10  "Come  kiss  me,  then,  Peggy,  nor  think  I'm  to  blame; 
I  weel  may  gae  out,  but  I'll  never  win  in!" 

11  When  Brackley  was  busked,  and  rade  o'er  the  closs, 
A  gallanter  baron  ne'er  lap  to  a  horse. 

12  When  Brackley  was  mounted,  and  rade  o'er  the  green, 
He  was  as  bold  a  baron  as  ever  was  seen. 

13  Tho'  there  cam'  wi'  Inverey  thirty-and-three, 

There  was  nane  wi'  bonny  Brackley  but  his  brother  and  he. 

14  Twa  gallanter  Gordons  did  never  sword  draw; 

But  against  four-and-thirty,  wae's  me,  what  is  twa? 

15  Wi'  swords  and  wi'  daggers  they  did  him  surround; 
And  they've  pierced  bonny  Brackley  wi'  mony  a  wound. 

i6  Frae  the  head  o'  the  Dee  to  the  banks  o'  the  Spey 
The  Gordons  may  mourn  him,  and  bann  Inverey. 

17  "0  came  ye  by  Brackley  yates,  was  ye  in  there? 
Or  saw  ye  his  Peggy  dear  riving  her  hair?" 

i8  "01  came  by  Brackley  yates,  I  was  in  there. 
And  I  saw  his  Peggy  a-making  good  cheer." 


Bonny  George  Campbell  109 

19  That  lady  she  feasted  them,  carried  them  ben; 
She  laugh'd  wi'  the  men  that  her  baron  had  slain. 

20  "O  fie  on  you,  lady!  how  could  you  do  sae? 
You  open'd  your  yates  to  the  fause  Inverey." 

21  She  ate  wi'  him,  drank  wi'  him,  welcom'd  him  in; 
She  welcom'd  the  villain  that  slew  her  baron! 

22  She  kept  him  till  morning,  syne  bade  him  be  gane, 
And  shaw'd  him  the  road,  that  he  shou'dna  be  ta'en. 

23  "Thro'  Birss  and  Aboyne,"  she  says,  "lyin'  in  a  tour, 
O'er  the  hills  o'  Glentanar  you'll  skip  in  an  hour." 

24  There's  grief  in  the  kitchen,  and  mirth  in  the  ha'; 
But  the  Baron  o'  Brackley  is  dead  and  awa. 


BONNY  GEORGE  CAMPBELL 

VERSION  B 

1  Saddled  and  bridled 

And  booted  rade  he; 
Toom  hame  cam  the  saddle, 
But  never  cam  he. 

2  Down  cam  his  auld  mither, 

Greetin'  fu'  sair. 
And  down  cam  his  bonny  wife, 
Wringin'  her  hair. 

3  Saddled  and  bridled 

And  booted  rade  he; 
Toom  hame  cam  the  saddle. 
But  never  cam  he. 


no  Old  Ballads 

VERSION  D 

1  High  upon  Highlands, 

And  low  upon  Tay, 

Bonnie  George  Campbell 

Rode  out  on  a  day. 

2  "My  meadow  lies  green, 

And  my  corn  is  unshorn, 
My  barn  is  to  build, 

And  my  babe  is  unborn." 

THE  BONNY  EARL  OF  MURRAY 

1  Ye  Highlands,  and  ye  Lawlands, 

Oh  where  have  ye  been? 
They  have  slain  the  Earl  of  Murray, 
And  they  laid  him  on  the  green. 

2  "Now  wae  be  to  thee,  Huntly! 

And  wherefore  did  you  sae? 
I  bade  you  bring  him  wi'  you, 
But  forbade  you  him  to  slay." 

3  He  was  a  braw  gallant. 

And  he  rid  at  the  ring; 
And  the  bonny  Earl  of  Murray, 
Oh  he  might  have  been  a  king! 

4  He  was  a  braw  gallant. 

And  he  played  at  the  ba'; 
And  the  bonny  Earl  of  Murray 
Was  the  flower  among  them  a'. 

5  He  was  a  braw  gallant. 

And  he  played  at  the  glove; 

And  the  bonny  Earl  of  Murray, 

Oh  he  was  the  Queen's  love! 


Johnie  Cock 

6  Oh  lang  will  his  lady 

Look  o'er  the  castle  Down, 
Ere  she  sees  the  Earl  of  Murray 

Come  sounding  thro'  the  town! 
Ere  she,  etc. 


Ill 


JOHNIE  COCK 


From  Child's  English  and  Scottish  Popular  Ballads.     Copyright,  1898,  Elizabeth 
Sedgwick  Child.     Reprinted  by  permission  of  Houghton  Mifflin  Company.  ■ 

1  Johnie  he  has  risen  up  i'  the  morn. 

Calls  for  water  to  wash  his  hands; 
But  little  he  knew  that  his  bloody  hounds 
Were  bound  in  iron  bands,  bands, 
Were  bound  in  iron  bands. 

2  Johnie's  mother  has  gotten  word  o'  that, 

And  care-bed  she  has  ta'en; 
"0  Johnie,  for  my  benison, 

I  beg  you'll  stay  at  hame; 
For  the  wine  so  red,  and  the  well  baken  bread, 

My  Johnie  shall  want  nane. 

3  "There  are  seven  forsters  at  Pickeram  Side, 

At  Pickeram  where  they  dwell. 
And  for  a  drop  of  thy  heart's  bluid 
They  wad  ride  the  fords  of  hell." 

4  Johnie  he's  gotten  word  of  that, 

And  he's  turn'd  wondrous  keen; 
He's  put  off  the  red  scarlett, 
And  he's  put  on  the  Lincolm  green. 


112  Old  Ballads 

5  With  a  sheaf  of  arrows  by  his  side, 

And  a  bent  bow  in  his  hand, 
He's  mounted  on  a  prancing  steed, 
And  he's  ridden  fast  o'er  the  strand. 

6  He's  up  i'  Braidhouplee,  and  down  i'  Bradyslee, 

And  under  a  buss  o'  broom, 
And  there  he  found  a  good  dun  deer, 
Feeding  in  a  buss  of  hng. 

7  Johnie  shot,  and  the  dun  deer  lap, 

And  she  lap  wondrous  wide, 
Until  they  came  to  the  wan  water, 
And  he  stemm'd  her  of  her  pride. 

8  He  'as  ta'en  out  the  little  pen-knife, 

'T  was  full  three  quarters  long. 
And  he  has  ta'en  out  of  that  dun  deer 
The  liver  but  and  the  tongue. 

9  They  eat  of  the  flesh,  and  they  drank  of  the  blood, 

And  the  blood  it  was  so  sweet, 
Which  caused  Johnie  and  his  bloody  hounds 
To  fall  in  a  deep  sleep. 

10  By  then  came  an  old  palmer, 

And  an  ill  death  may  he  die! 
For  he's  away  to  Pickram  Side, 
As  fast  as  he  can  drie. 

11  "What  news,  what  news?"  says  the  Seven  Forsters, 

"What  news  have  ye  brought  to  me?" 
"I  have  no  news,"  the  palmer  said, 
"But  what  I  saw  with  my  eye. 


Johnle  Cock  Ii3 

12  "High  up  i'  Bradyslee,  low  down  i'  Bradyslee, 

And  under  a  buss  of  scroggs, 
O  there  I  spied  a  well-wight  man, 
Sleeping  among  his  dogs. 

13  "His  coat  it  was  of  light  Lincolm, 

And  his  breeches  of  the  same, 

His  shoes  of  the  American  leather, 

And  gold  buckles  tying  them." 

14  Up  bespake  the  Seven  Forsters, 

Up  bespake  they  ane  and  a' : 
"O  that  is  Johnie  o'  Cockley's  Well, 
And  near  him  we  will  draw." 

15  O'  the  first  y  stroke  that  they  gae  him, 

They  struck  him  off  by  the  knee; 
Up  then  bespake  his  sister's  son: 
"O  the  next  '11  gar  him  die!" 

16  "O  some  they  count  ye  well-wight  men. 

But  I  do  count  ye  nane; 
For  you  might  well  ha'  waken'd  me, 
And  ask'd  gin  I  wad  be  ta'en. 

17  "The  wildest  wolf  in  a'  this  wood 

Wad  not  ha'  done  so  by  me ; 
She'd  ha'  wet  her  foot  i'  th'  wan  water, 

And  sprinkled  it  o'er  my  brae, 
And  if  that  wad  not  ha'  waken'd  me, 

She  wad  ha'  gone  and  let  me  be. 

18  "O  bows  of  yew,  if  ye  be  true, 

In  London,  where  ye  were  bought, 
Fingers  five,  get  up  belive, 
Manhuid  shall  fail  me  nought." 


114 


Old  Ballads 

19  He  has  kill'd  the  Seven  Forsters, 

He  has  kill'd  them  all  but  ane, 
And  that  wan  scarce  to  Pickeram  Side, 
To  carry  the  bode-words  hame. 

20  "Is  there  never  a  boy  in  a'  this  wood 

That  will  tell  what  I  can  say; 
That  wiU  go  to  Cockley's  Well, 
Tell  my  mither  to  fetch  me  away?" 

21  There  was  a  boy  into  that  wood, 

That  carried  the  tidings  away, 
And  many  ae  was  the  well-wight  man 
At  the  fetching  o'  Johnie  away. 


ROBIN  HOOD  AND  THE  MONK 

I  In  summer  when  the  shaws  be  sheen, 
And  leaves  be  large  and  long. 
It  is  full  merry  in  fair  forest 
To  hear  the  fowles'  song. 


"And  Shadow  Hem  in  the  Leaves  Green  " 
From  a  wood  engraving  by  Thomas  Bewick  for  Ritson's  Robin  Hood 

2  To  see  the  deer  draw  to  the  dale, 
And  leave  the  hilles  hie, 
And  shadow  hem  in  the  leaves  green, 
Under  the  greenwood  tree. 


Robin  Hood  and  the  Monk  115 

3  Hit  befell  on  Whitsuntide, 

Early  in  a  May  morning, 
The  sun  up  fair  can  shine, 

And  the  briddes  merry  can  sing. 

4  "This  is  a  merry  morning,"  said  Little  John, 

"By  Him  that  died  on  tree; 
A  more  merry  man  then  I  am  one 
Lives  not  in  Christiantie." 

5  "Pluck  up  thy  hert,  my  dear  master," 

Little  John  can  say, 
"And  think  it  is  a  full  fair  time 
In  a  morning  of  May." 

6  "Yea,  one  thing  grieves  me,"  said  Robin, 

"And  does  my  hert  mich  woe, 
That  I  may  not  no  solemn  day 
To  mass  nor  matins  go. 

7  "Hit  is  a  fortnit  and  more,"  said  he, 

"  Sin  I  my  Saviour  see ; 
To-day  will  I  to  Nottingham,"  said  Robin, 
"With  the  might  of  mild  Mary." 

8  Then  spake  Much,  the  milner  son, 

Ever  more  well  him  betide, 
"Take  twelve  of  thy  wight  yemen 

Well  weaponed  by  thy  side. 
Such  one  would  thyself  slon 

That  twelve  dare  not  abide." 

9  "Of  all  my  merry  men,"  said  Robin, 

"By  my  faith  I  will  none  have; 
But  Little  John  shall  bear  my  bow 
Till  that  me  list  to  draw." 


li6  Old  Ballads 

10  "Thou  shall  bear  thine  own,"  said  Little  John, 

"Maister,  and  I  will  bear  mine; 
And  we  will  sheet  a  penny,"  said  Little  John, 
"Under  the  greenwood  line." 

11  "I  will  not  sheet  a  penny,"  said  Robin  Hood, 

"In  faith,  Little  John,  with  thee. 
But  ever  for  one  as  thou  sheets,"  said  Robin, 
"In  faith  I  hold  thee  three." 

12  Thus  shet  they  forth,  these  yemen  two, 

Both  at  busk  and  broom, 
Till  Little  John  wan  of  his  maister 
Five  shillings  to  hose  and  shoon. 

13  A  ferly  strife  fell  them  between, 

As  they  went  by  the  way; 
Little  John  said  he  had  won  five  shillings, 
And  Robin  Hood  said  shortly  nay. 

14  With  that  Robin  Hood  lied  Little  John, 

And  smote  him  with  his  hand; 
Little  John  waxed  wroth  therewith. 
And  pulled  out  his  bright  brond. 

15  "Were  thou  not  my  maister,"  said  Little  John, 

"Thou  shouldes  'bye  hit  full  sore; 
Get  thee  a  man  where  thou  wilt, 
For  thou  getes  me  no  more." 

16  Then  Robin  goes  to  Nottingham, 

Himself  mourning  alone. 
And  Little  John  to  merry  Sherwood, 
The  paths  he  knew  ilkone, 


Robin  Hood  and  the  Monk  1 17 

17  When  Robin  came  to  Nottingham, 

Certainly  withouten  lain, 
He  prayed  to  God  and  mild  Mary 
To  bring  him  out  save  again. 

18  He  goes  into  Saint  Mary  church, 

And  kneeled  down  before  the  rood; 
All  that  ever  were  the  church  within 
Beheld  well  Robin  Hood. 

19  Beside  hun  stood  a  great-headed  monk, 

I  pray  to  God  woe  he  be; 
Full  soon  he  knew  good  Robin, 
As  soon  as  he  him  see. 


20  Out  at  the  door  he  ran 

Full  soon  and  anon; 
All  the  gates  of  Nottingham 

He  made  to  be  sparred  everychon. 

21  "Rise  up,"  he  said,  "thou  proud  sheriff, 

Busk  thee  and  make  thee  boun; 
I  have  spied  the  king's  felon, 
Forsooth  he  is  in  this  town. 

22  "I  have  spied  the  false  felon, 

As  he  stands  at  his  mass; 
It  is  long  of  thee,"  said  the  monk, 
"And  ever  he  fro  us  pass. 

23  "This  traitor  name  is  Robin  Hood; 

Under  the  greenwood  lind, 
He  robbed  me  once  of  a  hundred  pound, 
It  shall  never  out  of  my  mind." 


Ii8  Old  Ballads 

24  Up  then  rose  this  proud  sheriff, 

And  radly  made  him  yare; 
Many  was  the  moder  son 

To  the  kirk  with  him  can  fare. 

25  In  at  the  dures  they  throly  thrast 

With  staves  full  good  wone. 

"Alas,  alas,"  said  Robin  Hood, 

"Now  miss  I  Little  John." 

26  But  Robin  took  out  a  two-hand  sword 

That  hanged  down  by  his  knee; 
There  as  the  sheriff  and  his  men  stood  thickest, 
Thiderward  wold  he. 

27  Thrice  thoroughout  them  he  ran  then, 

Forsooth  as  I  you  say, 
And  wounded  many  a  moder  son. 
And  twelve  he  slew  that  day. 

28  His  sword  upon  the  sheriff  head 

Certainly  he  brake  in  two; 
"The  smith  that  thee  made,"  said  Robin, 
"I  pray  to  God  work  him  woe. 

29  "For  now  am  I  weaponless,"  said  Robin, 

"Alas,  again  my  will; 
But  if  I  may  flee  these  traitors  fro, 
I  wot  they  will  me  kill." 

30  Robin  in  to  the  churche  ran. 

Throughout  them  everilkone; 


31  Some  fell  in  swooning  as  they  were  dead, 
And  lay  still  as  any  stone. 
None  of  them  were  in  here  mind 
But  only  Little  John. 


Robin  Hood  and  the  Monk  119 

32  "Let  be  your  rule,"  said  Little  John, 

"For  His  love  that  died  on  tree, 
Ye  that  should  be  doughty  men; 
Hit  is  great  shame  to  see. 

33  "Our  maister  has  been  hard  bestood, 

And  yet  'scaped  away; 
Pluck  up  your  hertes  and  leave  this  moan. 
And  hearken  what  I  shall  say. 

34  "He  has  served  Our  Lady  many  a  day, 

And  yet  will,  securelie; 
Therefore  I  trust  in  her  specially 
No  wicked  death  shall  he  die. 

35  "Therefore  be  glad,"  said  Little  John,  ' 

"  And  let  this  mourning  be. 
And  I  shall  be  the  monkes  guide, 
With  the  might  of  mild  Mary. 

36  "We  will  go  but  we  two 

And  I  meet  him,"  said  Little  John, 

37  "Look  that  ye  keep  well  our  tristil  tree 

Under  the  leaves  smale, 
And  spare  none  of  this  venison 
That  goes  in  this  vale." 

38  Forth  then  went  these  yemen  two, 

Little  John  and  Much  on  fere 
And  looked  on  Much  eame's  house 
The  highway  lay  full  near. 

39  Little  John  stood  at  a  window  in  the  morning, 

And  looked  forth  at  a  stage; 
He  was  ware  where  the  monk  came  riding, 
And  with  him  a  little  page. 


I20  Old  Ballads 

40  "By  my  faith,"  said  Little  John  to  Much, 

"I  can  thee  tell  tithinges  good, 

I  see  where  the  monk  comes  riding, 

I  know  him  by  his  wide  hood." 

41  They  went  into  the  way  these  yemen  both, 

As  courteis  men  and  hende, 
They  speered  tithinges  at  the  monk, 
As  they  had  been  his  friend. 

42  "Fro  whence  come  ye?"  said  Little  John; 

"Tell  us  tithinges,  I  you  pray, 
Of  a  false  outlay  [called  Robin  Hood], 
Was  taken  yisterday. 

43  "He  robbed  me  and  my  fellows  both 

Of  twenty  mark  in  certain. 

If  that  false  outlay  be  taken, 

Forsooth  we  wold  be  fain." 

44  "So  did  he  me,"  said  the  monk, 

"Of  a  hundred  pound  and  more; 
I  laid  first  hand  him  upon, 
Ye  may  thonk  me  therefore." 

45  "I  pray  God  thank  you,"  said  Little  John, 

"And  we  will  when  we  may; 
We  will  go  with  you,  with  your  leave, 
And  bring  you  on  your  way. 

46  "For  Robin  Hood  has  many  a  wild  fellow, 

I  tell  you  in  certain; 
If  they  wist  ye  rode  this  way. 
In  faith  ye  shuld  be  slain." 


Robin  Hood  and  the  Monk  1 21 

47  As  they  went  talking  by  the  way, 

The  monk  and  Little  John, 
John  took  the  monk's  horse  by  the  head 
Full  soon  and  anon. 

48  John  took  the  monk's  horse  by  the  head, 

Forsooth  as  I  you  say, 
So  did  Much  the  little  page, 
For  he  shold  not  'scape  away. 

49  By  the  gullet  of  the  hood 

John  pulled  the  monk  down; 

John  was  nothing  of  him  aghast, 

He  let  him  fall  on  his  crown. 

50  Little  John  was  sore  aggrieved,   v 

And  drew  out  his  sword  in  hie;  ■ 
This  monk  saw  he  should  be  dead, 
Loud  mercy  can  he  cry. 

51  "He  was  my  maister,"  said  Little  John, 

"That  thou  hast  brought  in  bale- 
Shall  thou  never  come  at  our  king 
For  to  tell  him  tale." 

$2  John  smote  off  the  monke's  head, 
No  longer  wold  he  dwell; 
So  did  Much  the  little  page. 
For  feard  lest  he  wold  tell. 

S3  There  they  buried  hem  both 
In  nouther  moss  nor  ling. 
And  Little  John  and  Much  infere 
Bare  the  letters  to  our  king. 


122  Old  Ballads 

54  . 

He  kneeled  down  upon  his  knee, 
"  God  you  save,  my  liege  lord, 
Jesus  you  save  and  see! 

55  "God  you  save,  my  liege  king!" 

To  speak  John  was  full  bold; 
He  gaf  him  the  letters  in  his  hand, 
The  king  did  hit  unfold. 

56  The  king  read  the  letters  anon. 

And  said,  "So  mote  I  thee, 
There  was  never  yoman  in  merry  England 
I  longed  so  sore  to  see. 

57  "Where  is  the  monk  that  these  shuld  have  brought?" 

Our  king  can  say; 
"By  my  trouth,"  said  little  John, 
"He  died  after  the  way." 

58  The  king  gaf  Much  and  Little  John 

Twenty  pound  in  certain. 
And  made  them  yemen  of  the  crown, 
And  bade  them  go  again. 

59  He  gaf  John  the  seal  in  hand, 

The  sheriff  for  to  bear, 
To  bring  Robin  him  to, 
And  no  man  do  him  dere. 

60  John  took  his  leave  at  our  king, 

The  sooth  as  I  you  say; 
The  next  way  to  Nottingham 
To  take  he  yede  the  way. 


Robin  Hood  and  the  Monk  1 23 

61  Whan  John  came  to  Nottingham 

The  yates  were  sparred  each  one; 
John  called  up  the  porter, 
He  answered  soon  anon. 

62  "What  is  the  cause,"  said  Little  John, 

"Thou  sparrest  the  yates  so  fast?" 
"Because  of  Robin  Hood,"  said  the  porter, 
"In  deep  prison  is  cast. 

63  "John,  and  Much,  and  Will  Scathlock, 

Forsooth  as  I  you  say, 
They  slew  our  men  upon  our  walls, 
And  sawten  us  every  day." 

64  Little  John  speered  after  the  sheriff. 

And  soon  he  him  found ; 
He  opened  the  king's  privy  seal. 
And  gave  him  in  his  hand. 

65  When  the  sheriff  saw  the  king's  seal. 

He  did  off  his  hood  anon; 
"Where  is  the  monk  that  bare  the  letters?" 
He  said  to  Little  John. 

66  "He  is  so  fain  of  him,"  said  Little  John, 

"Forsooth  as  I  you  say. 
He  has  made  him  abbot  of  Westminster, 
A  lord  of  that  abbey." 

67  The  sheriff  made  John  good  cheer. 

And  gaf  him  wine  of  the  best; 
At  night  they  went  to  their  bed, 
And  every  man  to  his  rest. 


^24  Old  Ballads 

68  When  the  sheriff  was  on  sleep 
Drunken  of  wine  and  ale, 
Little  John  and  Much  forsooth 
Took  the  way  into  the  jail. 

6g  Little  John  called  up  the  jailer, 
And  bade  him  rise  anon; 
He  said  Robin  Hood  had  broken  prison, 
And  out  of  it  was  gone. 

70  The  porter  rose  anon  certain, 

As  soon  as  he  heard  John  call; 
Little  John  was  ready  with  a  swerd, 
And  bare  him  to  the  wall. 

71  "Now  will  I  be  porter,"  said  Little  John, 

"And  take  the  keys  in  hond;" 
He  took  the  way  to  Robin  Hood, 
And  soon  he  him  unbond. 

72  He  gaf  him  a  good  swerd  in  his  hand, 

His  head  therewith  for  to  keep, 
And  there  as  the  wall  was  lowest 
Anon  down  can  they  leap. 

73  By  that  the  cock  began  to  crow, 

The  day  began  to  spring, 
The  sheriff  found  the  jailer  dead. 
The  common  bell  made  he  ring. 

74  He  made  a  cry  throughout  all  the  town, 

Wheder  he  be  yeman  or  knave. 
That  could  bring  him  Robin  Hood, 
His  warison  he  shuld  have. 


Robin  Hood  and  the  Monk  1 25 

75  "For  I  dare  never,"  said  the  sheriff, 

"Come  before  our  king, 
For  if  I  do,  I  wot  certain, 
Forsooth  he  will  me  heng." 

76  The  sheriff  made  to  seek  Nottingham, 

Both  by  street  and  stye, 
And  Robin  was  in  merry  Sherwood 
As  light  as  leaf  on  Und. 

77  Then  bespake  good  Little  John, 

To  Robin  Hood  can  he  say, 
"I  have  done  thee  a  good  turn  for  an  evil. 
Quit  thee  when  thou  may. 

78  "I  have  done  thee  a  good  turn,"  said  Little  John, 

"Forsooth  as  I  you  say; 
I  have  brought  thee  under  greenwood  line; 
Farewell,  and  have  good  day." 

79  "Nay,  by  my  trouth,"  said  Robin  Hood, 

"So  shall  hit  never  be; 
I  make  thee  maister,"  said  Robin  Hood, 
"Of  all  my  men  and  me." 

80  "Nay,  by  my  trouth,"  said  Little  John, 

"So  shall  it  never  be. 
But  let  me  be  a  fellow,"  said  Little  John, 
"None  other  keep  I  be." 

81  Thus  John  gat  Robin  Hood  out  of  prison, 

Certain  withouten  lain; 
Wlian  his  men  saw  him  whole  and  sound, 
Forsooth  they  were  full  fain. 


126  Old  Ballads 

82  They  filled  in  wine,  and  made  hem  glad, 

Under  the  leaves  smale, 

And  yeat  pasties  of  venison, 

That  good  was  with  ale. 

83  Than  word  came  to  our  king, 

How  Robin  Hood  was  gone. 
And  how  the  sheriff  of  Nottingham 
Durst  never  look  him  upon. 

84  Then  bespake  our  comely  king, 

In  an  anger  hie, 
"Little  John  has  beguiled  the  sheriff, 
In  faith  so  has  he  me. 

85  "Little  John  has  beguiled  us  both. 

And  that  full  well  I  see, 
Or  else  the  sheriff  of  Nottingham 
High  honged  shuld  he  be. 

86  "I  made  hem  yemen  of  the  crown, 

And  gaf  hem  fee  with  my  hand, 
I  gaf  hem  grith,"  said  our  king, 
"Thoroughout  all  merry  England. 

87  "I  gaf  them  grith,"  then  said  our  king,  ^ 

"I  say,  so  mote  I  thee. 
Forsooth  such  a  yeman  as  he  is  one 
In  all  England  are  not  three. 

88  "He  is  true  to  his  maister,"  said  our  king, 

"I  say,  by  sweet  Saint  John; 
He  loves  better  Robin  Hood, 
Then  he  does  us  each  one. 


Robin  Hood  and  Guy  of  GIsburn  127 

89  "Robin  Hood  is  ever  bound  to  him, 

Both  in  street  and  stall; 
Speak  no  more  of  this  matter,"  said  our  king, 
"But  John  has  beguiled  us  all." 

90  Thus  ends  the  talking  of  the  monk 

And  Robin  Hood  i-wis; 
God,  that  is  ever  a  crowned  king, 
Bring  us  all  to  his  bliss. 


ROBIN  HOOD  AND  GUY  OF  GISBURN 


i5=s 


^ 


^m 


^^ 


-^=a:: 


-N— 1S- 


:l5=q: 


latzi; 


1  When  shaws  been  sheen,  and  shrads  full  fair, 
And  leaves  both  large  and  long, 
It  is  merry  walking  in  the  fair  forest, 
To  hear  the  small  birds'  song. 


2  The  woodweel  sang,  and  would  not  cease, 
Among  the  leaves  o'  line; 
And  it  is  by  two  wight  yeomen, 
By  dear  God,  that  I  mean. 


128  Old  Ballads 

3  "Methought  they  did  me  beat  and  bind, 

And  took  my  bow  me  fro; 
If  I  be  Robin  alive  in  this  land, 
I'll  be  wroken  on  them  two." 

4  "Swevens  are  swift,  master,"  quoth  John, 

"As  the  wind  that  blows  o'er  a  hill; 
For  if  it  be  never  so  loud  this  night, 
To-morrow  it  may  be  still." 

5  "Busk  ye,  boun  ye,  my  merry  men  all, 

For  John  shall  go  with  me, 
For  I'll  go  seek  yond  wight  yeomen, 
In  greenwood  where  they  be." 

6  They  cast  on  their  gowns  of  green, 

A-shooting  gone  are  they; 
Until  they  came  to  the  merry  greenwood. 

Where  they  had  gladdest  be; 
There  were  they  ware  of  [a]  wight  yeoman. 

His  body  leaned  to  a  tree. 

7  A  sword  and  a  dagger  he  wore  by  his  side. 

Had  been  many  a  man's  bane; 
And  he  was  clad  in  his  capuU  hide, 
Top  and  tail  and  mane. 

8  "Stand  you  still,  master,"  quoth  Little  John, 

"Under  this  trusty  tree, 
And  I  will  go  to  yond  wight  yeoman, 
To  know  his  meaning  trulie." 

g  "Ahl  John,  by  me  thou  sets  no  store, 
And  that's  a  farley  thing: 
How  oft  send  I  my  men  before, 
And  tarry  myself  behind? 


Robin  Hood  and  Guy  of  Glsburn  129 

10  "It  is  no  cunning  a  knave  to  ken, 

And  a  man  but  hear  him  speak; 
And  it  were  not  for  bursting  of  my  bow, 
John,  I  would  thy  head  break." 

11  But  often  words  they  breeden  bale, 

That  parted  Robin  and  John; 
John  is  gone  to  Barnesdale; 
The  gates  he  knows  each  one. 

12  And  when  he  came  to  Barnesdale, 

Great  heaviness  there  he  had. 
He  found  two  of  his  own  fellows. 
Were  slain  both  m  a  slade. 

13  And  Scarlet  a-foot  flying  was 

Over  stocks  and  stone, 
For  the  sheriff  with  seven  score  men 
Fast  after  him  is  gone. 

14  "Yet  one  shot  I'll  shoot,"  says  Little  John, 

"With  Christ  his  might  and  main; 
I'll  make  yond  fellow  that  flies  so  fast, 
To  be  both  glad  and  fain." 

15  John  bent  up  a  good  vew  bow, 

And  fettled  him  to  shoot: 
The  bow  was  made  of  a  tender  bough, 
And  fell  down  to  his  foot. 

16  "Woe  worth  thee,  wicked  wood,"  said  Little  John, 

"That  e'er  thou  grew  on  a  tree! 
For  this  day  thou  art  my  bale, 
My  boot  when  thou  should  be." 


I30  Old  Ballads 

17  This  shoot  it  was  but  loosely  shot, 

The  arrow  flew  in  vain, 
And  it  met  one  of  the  sheriff's  men, 
Good  WilHam  o'  Trent  was  slain. 

18  It  had  been  better  for  William  o'  Trent 

To  have  been  upon  a  gallow. 
Then  for  to  lie  in  the  greenwood 
There  slain  with  an  arrow. 

19  And  it  is  said,  when  men  be  met 

Six  can  do  more  than  three. 
And  they  have  ta'en  Little  John, 
And  bound  him  fast  to  a  tree. 

20  "Thou  shalt  be  drawen  by  dale  and  down,"  quoth 

the  sheriff, 
"And  hanged  high  on  a  hill;" 
"But  thou  may  fail,"  quoth  John, 
"If  it  be  Christ's  own  will." 

21  Let  us  leave  talking  of  Little  John, 

For  he  is  bound  fast  to  a  tree, 
And  talk  of  Guy  and  Robin  Hood, 
In  the  greenwood  where  they  be. 

22  How  these  two  yeomen  together  they  met, 

Under  the  leaves  of  line. 
To  see  what  marchandise  they  made. 
Even  at  that  same  time. 

23  "Good  morrow,  good  fellow,"  quoth  Sir  Guy, 

"Good  morrow,  good  fellow,"  quoth  he: 
"Methinks  by  this  bow  thou  bears  in  thy  hand, 
A  good  archer  thou  seems  to  be. 


Robin  Hood  and  Guy  of  Gisburn  131 

24  "I  am  wilful  of  my  way,"  quoth  Sir  Guy, 

"And  of  my  morning  tide:" 
"I'll  lead  thee  through  the  wood,"  quoth  Robin, 
"Good  feUow,  I'U  be  thy  guide." 

25  "I  seek  an  outlaw,"  quoth  Sir  Guy, 

"Men  call  him  Robin  Hood: 
I'd  rather  meet  with  him  upon  a  day, 
Than  forty  pound  of  gold." 

26  "If  you  two  met,  it  would  be  seen  whether  were 

better, 
Afore  ye  did  part  away. 
Let  us  some  other  pastime  find, 
Good  fellow,  I  thee  pray. 

2^  "Let  us  some  masteries  make. 

And  we  wiU  walk  in  the  woods  even; 
We  may  chance  meet  with  Robin  Hood 
Here  at  some  unset  steven." 

28  They  cut  them  down  two  summer  shrogs. 

Which  grew  both  under  a  briar. 
And  set  them  threescore  rood  in  twin. 
To  shoot  the  pricks  fuE  near. 

29  "Lead  on,  good  fellow,"  said  Sir  Guy, 

"Lead  on,  I  do  bid  thee;" 
"Nay,  by  my  faith,"  quoth  Robin  Hood, 
"The  leader  thou  shalt  be." 

30  The  first  good  shot  that  Robin  led 

Did  not  shoot  an  inch  the  prick  fro; 
Guy  was  an  archer  good  enough. 
But  he  could  ne'er  shoot  so. 


132  Old  Ballads 

31  The  second  shot  Sir  Guy  shot, 

He  shot  within  the  garland; 
But  Robin  Hood  shot  it  better  than  he, 
For  he  dove  the  good  prick-wand. 

32  "God's  blessing  on  thy  heart,"  says  Guy, 

"Good  fellow,  thy  shooting  is  good; 

For  an  thy  heart  be  as  good  as  thy  hand 

Thou  were  better  then  Robin  Hood. 

33  "Tell  me  thy  name,  good  fellow,"  quoth  Guy, 

"Under  the  leaves  of  line;" 
"Nay,  by  my  faith,"  quoth  good  Robin, 
"Till  thou  have  told  me  thine." 

34  "I  dwell  by  dale  and  down,"  quoth  Guy, 

"And  I  have  done  many  a  curst  turn; 
And  he  that  calls  me  by  my  right  name, 
Calls  me  Guy  of  good  Gisburn." 

35  "]My  dwelling  is  in  the  wood,"  saj^s  Robin, 

"By  thee  I  set  right  nought: 
I  am  Robin  Hood  of  Barnesdale, 
A  fellow  thou  has  long  sought." 

36  He  that  had  neither  been  a  kith  nor  kin 

Might  have  seen  a  full  fair  sight, 
To  see  how  together  these  yeomen  went 
With  blades  both  brown  and  bright: 

37  To  have  seen  how  these  yeomen  together  fought 

Two  hours  of  a  summer's  day. 

It  was  neither  Guy  nor  Robin  Hood 

That  fettled  them  to  fly  away. 


Robin  Hood  and  Guy  of  GIsburn"         133 

38  Robin  was  reachless  on  a  root. 
And  stumbled  at  that  tide; 
And  Guy  was  quick  and  nimble  withal, 
And  hit  him  o'er  the  left  side. 


39  "Ah,  dear  Lady,"  said  Robin  Hood, 
"Thou  art  both  mother  and  may; 
I  think  it  was  never  man's  destiny 
To  die  before  his  day." 


I  M\     Iff:;  '^'^^'^#5S^^t»*^^G^^t;;^^^^^ 


"  Robin  was  Reachless  on  a  Root  " 
From  a  wood  engraving  by  Thomas  Bewick  for  Ritson's  Robin  Hood 

40  Robin  thought  on  Our  Lady  dear, 

And  soon  leapt  up  again, 
And  thus  he  came  with  an  awkward  stroke, 
Good  Sir  Guy  he  hath  slain. 

41  He  took  Sir  Guy's  head  by  the  hair, 

And  sticked  it  on  his  bow's  end: 
"Thou  hast  been  traitor  all  thy  life, 
Which  thing  must  have  an  end." 


134         •  01^  Ballads 

42  Robin  pulled  forth  an  Irish  knife, 

And  nicked  Sir  Guy  in  the  face, 
«      That  he  was  never  on  woman  born 
Could  tell  who  Sir  Guy  was. 

43  Says,  "Lie  there,  lie  there,  good  Sir  Guy, 

And  with  me  be  not  wroth ; 
If  thou  have  had  the  worse  strokes  at  my  hand, 
Thou  shalt  have  the  better  cloth." 


44  Robin  did  off  his  gown  of  green, 

Sir  Guy  he  did  it  throw, 
And  he  put  on  that  capuU  hide. 
That  clad  him  top  to  toe. 

45  "The  bow,  the  arrows,  and  little  horn, 

And  with  me  now  I'll  bear; 
For  I  will  go  to  Barnesdale, 
To  see  how  my  men  do  fare." 

46  Robin  Hood  set  Guy's  horn  to  his  mouth. 

And  a  loud  blast  in  it  he  did  blow : 
That  beheard  the  sheriff  of  Nottingham, 
As  he  leaned  under  a  lowe. 

47  "Hearken,  hearken,"  said  the  sheriff, 

"I  heard  no  tidings  but  good, 
For  yonder  I  hear  Sir  Guy's  horn  blow, 
For  he  hath  slain  Robin  Hood. 

48  "For  yonder  I  hear  Sir  Guy's  horn  blow, 

It  blows  so  weU  in  tide, 
For  yonder  comes  that  wight  yeoman. 
Clad  in  his  capuU  hide. 


Robin  Hood  and  Guy  of  Gisburn  135 

49  "Come  hither,  thou  good  Sir  Guy, 

Ask  of  me  what  thou  wilt  have:" 
"I'll  have  none  of  thy  gold,"  says  Robin  Hood, 
"Nor  I'll  none  of  it  have, 

50  "But  now  I  have  slain  the  master,"  he  said, 

"Let  me  go  strike  the  knave; 
This  is  all  the  reward  I  ask. 
Nor  no  other  will  I  have." 

51  "Thou  art  a  madman,"  said  the  sheriff, 

"Thou  shouldest  have  had  a  knight's  fee; 
Seeing  thy  asking  hath  been  so  bad, 
Well  granted  it  shall  be." 

52  But  Little  John  heard  his  master  speak, 

Well  he  knew  that  was  his  steven ; 
"Now  shall  I  be  loosed,"  quoth  Little  John, 
"With  Christ's  might  in  heaven." 

53  But  Robin  he  hied  him  towards  Little  John, 

He  thought  he  would  loose  him  belive: 
The  sheriff  and  all  his  company 
Fast  after  him  did  drive. 

54  "Stand  aback,  stand  aback,"  said  Robin, 

"Why  draw  you  me  so  near? 
It  was  never  the  use  in  our  country, 
One's  shrift  another  should  hear." 

55  But  Robin  pulled  forth  an  Irish  knife. 

And  loosed  John  hand  and  foot, 
And  gave  him  Sir  Guy's  bow  in  his  hand. 
And  bade  it  be  his  boot. 


"136 


Old  Ballads 


56  But  John  took  Guy's  bow  in  his  hand, 

His  arrows  were  rawsty  by  the  root: 
The  sheriiT  saw  Little  John  draw  a  bow, 
And  fettle  him  to  shoot. 

57  Towards  his  house  in  Nottingham 

He  fled  full  fast  away, 
And  so  did  all  his  company, 
Nor  one  behind  did  stay. 

58  But  he  could  neither  so  fast  go, 

Nor  away  so  fast  run, 
But  Little  John  with  an  arrow  broad 
Did  cleave  his  heart  in  twin. 


"  Nor  One  Behind  Did  Stay  " 
From  a  wood  engraving  by  Thomas  Bewick  for  Ritson's  Robin  Hood 


ROBIN  HOOD  AND  THE  CURTAL  FRIAR 

I  But  how  many  merry  months  be  in  the  year? 
There  are  thirteen,  I  say; 
The  midsummer  moon  is  the  merriest  of  all, 
Next  to  the  merry  month  of  May. 


Robin  Hood  and  the  Curtal  Friar  1 37 

2  In  May,  when  maids  been  fast  weepand, 
Young  men  their  hands  done  wring, 


3  "I'll      .         .     pe     . 

Over  may  no  man  for  villanie;" 
"I'll  never  eat  nor  drink,"  Robin  Hood  said, 
"Till  I  that  cutted  Friar  see." 

4  He  builded  his  men  in  a  brake  of  fern, 

A  little  from  that  nunnery; 
Says,  "If  you  hear  my  httle  horn  blow, 
Then  look  you  come  to  me." 

5  When  Robin  came  to  Fountains  Abbey, 

Whereas  that  friar  lay, 
He  was  ware  of  the  friar  where  he  stood, 
And  to  him  thus  can  he  say. 

6  A  pair  of  black  breeches  the  yeoman  had  on, 

His  cop  all  shone  of  steel, 
A  fair  sword  and  a  broad  buckler 
Beseemed  him  very  weel. 

7  "I  am  a  wet  weary  man,"  said  Robin  Hood, 

"Good  fellow,  as  thou  may  see; 
Wilt  bear  me  over  this  wild  water. 
For  sweet  Saint  Charity?" 

8  The  friar  bethought  him  of  a  good  deed; 

He  had  done  none  of  long  before; 
He  hent  up  Robin  Hood  on  his  back. 
And  over  he  did  him  bear. 

9  But  when  he  came  over  that  wild  water, 

A  long  sword  there  he  drew; 
"Bear  me  back  again,  bold  outlaw. 
Or  of  this  thou  shalt  have  enough." 


138  Old  Ballads 

10  Then  Robin  Hood  hent  the  friar  on  his  back, 

And  neither  said  good  nor  ill; 

Till  he  came  o'er  that  wild  water, 

The  yeoman  he  walked  still. 

11  Then  Robin  wet  his  fair  green  hose 

A  span  above  his  knee; 
Says,  "Bear  me  o'er  again,  thou  cutted  friar, 


"  He  Hent  up  Robin  on  His  Back  " 
From  a  wood  engraving  by  Thomas  Bewick  for  Ritson's  Robin  Hood 


good  bowmen 

Came  raking  all  on  a  row. 

13  "I  beshrew  thy  head,"  said  the  cutted  friar, 

"Thou  thinks  I  shall  be  shent; 
I  thought  thou  had  but  a  man  or  two. 
And  thou  hast  a  whole  convent. 

14  "I  let  thee  have  a  blast  on  thy  horn. 

Now  give  me  leave  to  whistle  another^ 
I  could  not  bid  thee  no  better  play 
And  thou  wert  my  own  born  brother." 


Robin  Hood  and  the  Curtal  Friar  139 

15  "Now  fute  on,  fute  on,  thou  cutted  friar, 

I  pray  God  thou  ne'er  be  still; 
It  is  not  the  futing  in  a  friar's  fist 
That  can  do  me  any  ill." 

16  The  friar  set  his  neave  to  his  mouth, 

A  loud  blast  he  did  blow; 
Then  half  a  hundred  good  bandogs 
Came  raking  all  on  a  row. 


17 


A 


"Every  dog  to  a  man,"  said  the  cutted  friar, 
"And  I  myself  to  Robin  Hood." 

18  "Over  God's  forbot,"  said  Robin  Hood, 

"That  ever  that  so  shold  be; 
I  had  rather  be  matched  with  three  of  the  tikes, 
Ere  I  wold  be  matched  on  thee. 

19  "But  stay  thy  tikes,  thou  friar,"  he  said, 

"And  friendship  I'll  have  with  thee; 
But  stay  thy  tikes,  thou  friar,"  he  said, 
"And  save  good  yeomanry." 

20  The  friar  he  set  his  neave  to  his  mouth, 

A  loud  blast  he  did  blow; 
The  dogs  they  couched  down  every  one, 
They  couched  down  on  a  row. 

21  "WTiat  is  thy  will,  thou  yeoman,"  he  said, 

"Have  done  and  tell  it  me;" 
"If  thou  wilt  go  to  merry  greenwood. 


140  Old  Ballads 


THE  JOLLY  FINDER  OF  WAKEFIELD 

1  "But  hold  ye,  hold  ye,"  says  Robin, 

"My  merrymen,  I  bid  ye, 
For  this  is  one  of  the  best  pinders 
That  ever  I  saw  with  mine  eye. 

2  "But  hast  thou  any  meat,  thou  jolly  pinder, 

For  my  merrymen  and  me?" 


3  "But  I  have  bread  and  cheese,"  says  the  pinder, 

"And  ale  all  on  the  best:" 
"That's  cheer  good  enough,"  said  Robin, 
"For  any  such  unbidden  guest. 

4  "But  wilt  be  my  man?"  said  good  Robin, 

"And  come  and  dwell  with  me? 
And  twice  in  a  year  thy  clothing  shall  be  changed, 

If  my  man  thou  wilt  be; 
The  tone  shall  be  of  light  Lincoln  green, 

The  tother  of  Picklory." 

5  "At  Michaelmas  comes  a  well  good  time, 

When  men  have  gotten  in  their  fee; 
I'll  set  as  little  by  my  master 

As  he, now  sets  by  me, 
I'll  take  my  benbow  in  my  hand, 

And  come  into  the  greenwood  to  thee." 

ROBIN  HOOD'S  DEATH 

I  "I  WILL  never  eat  nor  drink,"  Robin  Hood  said, 
"Nor  meat  will  do  me  no  good, 
Till  I  have  been  at  merry  Churchlees, 
My  veins  for  to  let  blood." 


Robin  Hood's  Death  141 

2  "That  I  read  not,"  said  Will  Scarlett, 

"Master,  by  the  assent  of  me. 
Without  half  a  hundred  of  your  best  bowmen 
You  take  to  go  with  ye; 

3  "For  there  a  good  yeoman  doth  abide, 

Will  be  sure  to  quarrel  with  thee, 
And  if  thou  have  need  of  us,  master. 
In  faith  we  will  not  flee." 

4  "And  thou  be  feared,  thou  William  Scarlett, 

At  home  I  read  thee  be, —  " 
"And  you  be  wroth,  my  dear  master, 
You  shall  never  hear  more  of  me, —  " 

5  "  For  there  shall  no  man  with  me  go. 

Nor  man  with  me  ride. 
And  Little  John  shall  be  my  man, 
And  bear  my  benbow  by  my  side." 

6  "You'st  bear  your  bow,  master,  yourself, 

Nor  shoot  for  a  penny  with  me." 
"To  that  I  do  assent,"  Robin  Hood  said, 
"And  so,  John,  let  it  be." 

7  They  two  bold  children  shottcn  together 

All  day  their-self  in  rank. 
Until  they  came  to  black  water. 
And  over  it  laid  a  plank. 

8  Upon  it  there  kneeled  an  old  woman 

Was  banning  Robin  Hood; 
"Why  dost  thou  ban  Robin  Hood?"  said  Robin, 


To  give  to  Robin  Hood; 
We  wccpcn  for  his  dear  body 

That  this  day  must  be  let  blood." 


142  Old  Ballads 

10  "The  dame  prior  is  my  aunt's  daughter, 

And  nigh  unto  my  kin ; 
I  know  she  wold  do  me  no  harm  this  day 
For  all  the  world  to  win." 

11  Forth  then  shotten  these  children  two, 

And  they  did  never  lin 
Until  they  came  to  merry  Churchlees, 
To  merry  Churchlees  within. 

12  And  when  they  came  to  merry  Churchlees, 

They  knocked  upon  a  pin; 
Up  then  rose  dame  prioress, 
And  let  good  Robin  in. 

13  Then  Robin  gave  to  dame  prioress 

Twenty  pound  in  gold, 
And  bad  her  spend  while  that  wold  last, 
And  she  shold  have  more  when  she  wold. 

14  And  down  then  came  dame  prioress, 

Down  she  came  in  that  ilk, 
With  a  pair  of  blood-irons  in  her  hands 
Were  wrapped  all  in  silk. 

15  "Set  a  chafing  dish  to  the  fire,"  said  dame  prioress, 

"And  strip  thou  up  thy  sleeve." 
I  hold  him  but  an  unwise  man 
That  will  no  warning  'lieve. 

i6  She  laid  the  blood-irons  to  Robin  Hood's  vein. 
Alack,  the  more  pitie! 
And  pierced  the  veins,  and  let  out  the  blood 
That  full  red  was  to  see. 

17  And  first  it  bled  the  thick,  thick  blood, 
And  afterwards  the  thin. 
And  well  then  wist  good  Robin  Hood, 
Treason  there  was  within. 


Robin  Hood's  Death  143 

18  "WTiat  cheer,  my  master?"  said  Little  John; 
"In  faith,  John,  little  good." 


19  "I  have  upon  a  gown  of  green 

Is  cut  short  by  my  knee, 
And  in  my  hand  a  bright  brown  brand 
That  will  well  bite  of  thee." 

20  But  forth  then  of  a  shop  window 

Good  Robin  he  could  glide; 
Red  Roger  with  a  grounding  glaive 

Thrust  him  through  the  milk-white  side. 

21  But  Robin  was  light  and  nimble  of  foot, 

And  thought  to  abate  his  pride; 
For  betwixt  his  head  and  his  shoulders 
He  made  a  wound  full  wide. 

22  Says,  "Lie  there,  lie  there,  Red  Roger, 

The  dogs  they  must  thee  eat; 
For  I  may  have  my  housle,"  he  said, 
"  For  I  may  both  go  and  speak. 

23  "Now  give  me  mood,"  Robin  said  to  Little  John, 

"Give  me  mood  with  thy  hand; 
I  trust  to  God  in  heaven  so  high 
My  housle  will  me  bestand." 

24  "Now  give  me  leave,  give  me  leave,  master,"  he  said, 

"For  Christ's  love  give  leave  to  me 
To  set  a  fire  within  this  hall 
And  to  burn  up  all  Churchlee!" 

25  "That  I  read  not,"  said  Robin  Hood  then, 

"Little  John,  for  it  may  not  be; 
If  I  shold  do  any  widow  hurt,  at  my  latter  end, 
God,"  he  said,  "wold  blame  me; 


144  Old  Ballads 

26  "But  take  me  upon  thy  back,  Little  John, 

And  bear  me  to  yonder  street, 
And  there  make  me  a  full  fair  grave, 
Of  gravel  and  of  greet. 

27  "And  set  my  bright  sword  at  my  head, 

Mine  arrows  at  my  feet, 
And  lay  my  vew-bow  by  my  side, 
My  met-yard  wi         .        .        . 


AMERICAN  BALLADS  1 

THE  OLD  CHISEOLM  TRAIL 


1  Come  along,  boys,  and  listen  to  my  tale, 

I'll  tell  you  of  my  troubles  on  the  old  Chisholm  trail. 

Coma  ti  yi  youpy,  youpy  ya,  youpy  ya, 
Coma  ti  yi  youpy,  youpy  ya. 

2  I  started  up  the  trail  October  twenty-third, 
I  started  up  the  trail  \\dth  the  2-U  herd. 

3  Oh,  a  ten  dollar  boss  and  a  forty  dollar  saddle, — 
And  I'm  go  in'  to  punchin'  Texas  cattle. 

4  I  woke  up  one  morning  on  the  old  Chisholm  trail, 
Rope  in  my  hand  and  a  cow  by  the  tail. 

5  I'm  up  in  the  mornin'  afore  daylight, 
And  afore  I  sleep  the  moon  shines  bright. 

6  Old  Ben  Bolt  was  a  blamed  good  boss. 

But  he'd  go  to  see  the  gals  on  a  sore-backed  hoss. 

'  From  Lomax's  Cowboy  Sonf^s  and  other  Frontier  Ballads,  copyright,  igio, 
by  Sturgis  and  Walton.     Words  and  music  reprinted  by  permission. 

H5 


146  American  Ballads 

7  Old  Ben  Bolt  was  a  fine  old  man, 

And  you'd  know  there  was  whiskey  wherever  he'd  land. 

8  We  hit  Caldwell  and  we  hit  her  on  the  fly, 

We  bedded  down  the  cattle  on  the  hill  close  by.  , 

9  No  chaps,  no  slicker,  and  it's  pouring  down  rain, 
And  I  swear,  by  god,  I'll  never  night-herd  again. 

10  Feet  in  the  stirrups  and  seat  in  the  saddle, 

I  hung  and  rattled  with  them  long-horn  cattle. 

11  Last  night  I  was  on  guard  and  the  leader  broke  the  ranks, 
I  hit  my  horse  down  the  shoulders  and  I  spurred  him  in  the 

flanks. 

12  The  wind  commenced  to  blow,  and  the  rain  began  to  fall, 
Hit  looked,  by  grab,  like  we  was  goin'  to  loss  'cm  all. 

13  I  jumped  in  the  saddle  and  grabbed  holt  the  horn, 
Best  blamed  cow-puncher  ever  was  born. 

14  Foot  in  the  stirrup  and  hand  on  the  horn. 
Best  blamed  cowboy  ever  was  born. 

15  We  rounded  'em  up  and  put  'em  on  the  cars, 
And  that  was  the  last  of  the  old  Two  Bars. 

16  Oh  it's  bacon  and  beans  'most  every  day, — 
I'd  as  soon  be  a-eatin'  prairie  hay. 

17  I'm  on  my  best  horse  and  I'm  goin'  at  a  run, 

I'm  the  quickest  shootin'  cowboy  that  ever  pulled  a  gun. 

18  I  went  to  the  wagon  to  get  my  roll, 

To  come  back  to  Texas,  dad-burn  my  soul. 


Utah  Carroll  147 

19  I  went  to  the  boss  to  draw  my  roll, 

He  had  it  figgered  out  I  was  nine  dollars  in  the  hole. 

20  With  my  knees  in  the  saddle  and  my  seat  in  the  sky, 
I'll  quit  punching  cows  in  the  sweet  by  and  by. 


UTAH  CARROLL 

1  And  as,  my  friend,  you  ask  me  what  makes  me  sad  and  still, 
And  why  my  brow  is  darkened  like  the  clouds  upon  the  hill; 
Run  in  your  pony  closer  and  I'll  tell  to  you  the  tale 

Of  Utah  Carroll,  my  partner,  and  his  last  ride  on  the  trail. 

2  'Mid  the  cactus  and  the  thistles  of  Mexico's  fair  lands, 
Where  the  cattle  roam  in  thousands,  a-many  a  herd  and 

brand. 
There  is  a  grave  with  neither  headstone,  neither  date  nor 

name, — 
There  lies  my  partner  sleeping  in  the  land  from  which  I  came. 

3  We  rode  the  range  together  and  had  rode  it  side  by  side; 
I  loved  him  as  a  brother,  I  wept  when  Utah  died; 

We  were  rounding  up  one  morning,  our  work  was  almost 

done, 
When  on  the  side  the  cattle  started  on  a  mad  and  fearless  run. 

4  The  boss  man's  httle  daughter  was  holding  on  that  side. 
She  rushed;  the  cattle  saw  the  blanket,  they  charged  with 

maddened  fear. 
And  little  Varro,  seeing  the  danger,  turned  her  pony  a  pace, 
And  leaning  in  her  saddle,  tied  the  blanket  in  its  place. 

5  In  leaning,  she  lost  her  balance  and  fell  in  front  of  that  wild 

tide. 
Utah's  voice  controlled   the  round-up.     "Lay  still,  little 
Varro,"  he  cried. 


14S  American  Ballads 

His  only  hope  was  to  raise  her,  to  catch  her  at  full  speed, 
And  oft-times  he  had  been  known  to  catch  the  trail  rope  off 
his  steed. 

6  His  pony  reached  the  maiden  with  a  firm  and  steady  bound; 
Utah  swung  out  from  the  saddle  to  catch  her  from  tlie 

ground. 
He  swung  out  from  the  saddle,  I  thought  her  safe  from  harm, 
As  he  swung  in  his  saddle  to  raise  her  in  his  arm. 

7  But  the  cinches  of  his  saddle  had  not  been  felt  before, 

And  his  back  cinch  snapped  asunder  and  he  fell  by  the  side  of 

Varro. 
He  picked  up  the  blanket  and  swung  it  over  his  head 
And  started  across  the  prairie;  "Lay  still,  little  Varro,"  he 

said. 

8  Well,  he  got  the  stampede  turned  and  saved  little  Varro,  his 

friend. 
Then  he  turned  to  face  the  cattle  and  meet  his  fatal  end. 
His  six-shooter  from  his  pocket,  from  the  scabbard  he  quickly 

drew, — 
He  was  boimd  to  die  defended  as  all  young  cowboys  do. 

9  His  six-shooter  flashed  like  lightning,  the  report  rang  loud 

and  clear; 
As  the  cattle  rushed  in  and  killed  him  he  dropped  the  leading 

steer. 
And  when  we  broke  the  circle  where  Utah's  body  lay. 
With  many  a  wound  and  bruise  his  young  life  ebbed  away. 

10  "And  in  some  future  morning,"  I  heard  the  preacher  say, 
"I  hope  we'll  all  meet  Utah  at  the  round-up  far  away." 
Then  we  wrapped  him  in  a  blanket  sent  by  his  little  friend, 
And  it  was  that  very  red  blanket  that  brought  him  to  his 
end. 


The  Zebra  Dun  149 


THE  ZEBRA  DUN 

1  We  were  camped  on  the  plains  at  the  head  of  the  Cimarron 
When  along  came  a  stranger  and  stopped  to  arger  some. 

He  looked  so  very  foolish  that  we  began  to  look  around, 
We  thought  he  was  a  greenhorn  that  had  just  'scaped  from 
town. 

2  We  asked  him  if  he  had  been  to  breakfast;  he  hadn't  had  a 

smear, 
So  we  opened  up  the  chuck-box  and  bade  him  have  his 

share. 
He  took  a  cup  of  coffee  and  some  biscuits  and  some  beans, 
And  then  began  to  talk  and  tell  about  foreign  kings  and 

queens, — 

3  About  the  Spanish  war  and  fighting  on  the  seas 
With  guns  as  big  as  steers  and  ramrods  big  as  trees,— 
And  about  old  Paul  Jones,  a  mean,  fighting  son  of  a  gun, 
Who  was  the  grittiest  cuss  that  ever  pulled  a  gun. 

4  Such  an  educated  feller,  his  thoughts  just  came  in  herds, 
He  astonished  all  them  cowboys  with  them  jaw-breaking 

words. 
He  just  kept  on  talking  till  he  made  the  boys  all  sick, 
And  they  began  to  look  around  just  how  to  play  a  trick. 

5  He  said  he  had  lost  his  job  upon  the  Santa  Fe 
And  was  going  across  the  plains  to  strike  the  7-D. 

He  didn't  say  how  come  it,  some  trouble  with  the  boss, 
But  said  he'd  like  to  borrow  a  nice  fat  saddle  hoss. 

6  This  tickled  all  the  boys  to  death,  they  laughed  way  down 

in  their  sleeves, — 
"  We  will  lend  you  a  horse  just  as  fresh  and  fat  as  you  please." 


150  American  Ballads 

Shorty  grabbed  a  lariat  and  roped  the  Zebra  Dun, 
And  turned  him  over  to  the  stranger  and  waited  for  the 
fun. 

7  Old  Dunny  was  a  rocky  outlaw  that  had  grown  so  awful 

wild 
That  he  could  paw  the  white  out  of  the  moon  every  jump 

for  a  mile. 
Old  Dunny  stood  right  still, — as  if  he  didn't  know, — 
Until  he  was  saddled  and  ready  for  to  go. 

8  When  the  stranger  hit  the  saddle,  old  Dunny  quit  the  earth 
And  traveled  right  straight  up  for  all  that  he  was  worth. 
A-pitching  and  a-squealing,  a-having  wall-eyed  fits, 

His  hind  feet  perpendicular,  his  front  ones  in  the  bits. 

9  We  could  see  the  tops  of  the  mountains  under  Dunny  every 

jump, 
But  the  stranger  he  was  growed  there  just  like  the  camel's 

hump; 
The  stranger  sat  upon  him  and  curled  his  black  mustache 
Just  hke  a  summer  boarder  waiting  for  his  hash. 

10  He  thumped  him  in  the  shoulders  and  spurred  liim  when  he 

•whirled. 
To  show  them  flunky  punchers  that  he  was  the  wolf  of  the 

world. 
When  the  stranger  had  dismounted  once  more  upon  the 

ground, 
We  knew  he  was  a  thoroughbred  and  not  a  gent  from  town. 

11  The  boss  who  was  standing  round  watching  of  the  show. 
Walked  right  up  the  stranger  and  told  him  he  needn't  go, — 
"If  you  can  use  the  lasso  like  you  rode  old  Zebra  Dun, 
You  are  the  man  I've  been  looking  for  ever  since  the  year 

one." 


Whoopee  ti  y'l  yo,  git  Along,  Little  Dogies   151 

12  Oh,  he  could  twirl  the  lariat  and  he  didn't  do  it  slow, 

He  could  catch  them  fore  feet  nine  out  of  ten  for  any  kind 

of  dough. 
And  when  the  herd  stampeded  he  was  always  on  the  spot 
And  set  them  to  nothing,  like  the  boiling  of  a  pot. 

13  There's  one  thing  and  a  shore  thing  I've  learned  since  I've 

been  born. 
That  every  educated  feller  ain't  a  plumb  greenhorn. 


WHOOPEE  TI  YI  YO,  GIT  ALONG,  LITTLE  DOGIES 


ir)s,_pL,jv- 


-•^*- 


zStiSizitiiSczBizqs 


-*-:Sr:Sr 


-J— J— J- 


-Jgr—sgr 


ig-^S^iC^e; 


q"s=1S=?s.-:=f 


■^^ 


r-£ 

' — ^— h ^    h    s    N    N    h 6-4 1 J- 

-nJ    ^^^^i 

:fi 

-^      ml       »-^_ 

* — * — N 


fc- 1* n ^r- 


:1«:SS: 


^^ 


^^^^g^^^i^^^^^ 


As  I  walked  out  one  morning  for  pleasure, 

I  spied  a  cow-puncher  all  riding  alone; 

His  hat  was  thrown  back  and  his  spurs  was  a-jingling, 

As  he  approached  me  a-singin'  this  song, 

Whoopee  ti  yi  yo,  git  along,  little  dogies, 
It's  your  misfortune,  and  none  of  my  own. 
Whoopee  ti  yi  yo,  git  along,  little  dogies, 
For  you  know  Wyoming  will  be  your  new  home. 


152  American  Ballads 

2  Early  in  the  spring  wc  round  up  the  dogies, 
Mark  and  brand  and  bob  off  their  tails; 
Round  up  our  horses,  load  up  the  chuck -wagon, 
Then  throAv  the  dogies  upon  the  trail. 

3  It's  whooping  and  yelling  and  driving  the  dogies; 
Oh  how  I  wish  you  would  go  on ; 

It's  whooping  and  punching  and  "go  on,  little  dogies, 
For  you  know  Wyoming  will  be  your  new  home." 

4  Some  boys  goes  up  the  trail  for  pleasure. 

But  there's  where  you  get  it  most  awfully  wrong; 
For  you  haven't  any  idea  the  trouble  they  give  us 
.  While  we  go  driving  them  all  along. 

5  Your  mother  she  was  raised  way  down  in  Texas, 
Where  the  jimson  weed  and  sandburrs  grow; 

Now  we'll  fill  you  up  on  the  prickly  pear  and  cholla 
Till  you  are  ready  for  the  trail  to  Idaho. 

6  Oh.  you'll  be  soup  for  Uncle  Sam's  Injuns; 
"It's  beef,  heap  beef,"  I  hear  them  cry. 
Git  along,  git  along,  git  along,  little  dogies 
You're  going  to  be  beef  steers  by  and  by. 


NEW  BALLADS 


TEE  WRECK  OF  THE  HESPERUS 

1  It  was  the  schooner  Hesperus, 

That  sailed  the  wintry  sea; 
And  the  skipper  had  taken  his  Uttle  daughter. 
To  bear  him  company. 

2  Blue  were  her  eyes  as  the  fairy-flax, 

Her  cheeks  hke  the  dawn  of  day, 
And  her  bosom  white  as  the  hawthorn  buds, 
That  ope  in  the  month  of  May. 

3  The  skipper  he  stood  beside  the  helm, 

His  pipe  was  in  his  mouth, 
And  he  watched  how  the  veering  flaw  did  blow 
The  smoke  now  West,  now  South. 

4  Then  up  and  spake  an  old  Sailor, 

Had  sailed  to  the  Spanish  Main, 
"I  pray  thee,  put  into  yonder  port, 
For  I  fear  a  hurricane. 

5  "Last  night,  the  moon  had  a  golden  ring. 

And  to-night  no  moon  we  see!" 
The  skipper,  he  blew  a  whiff  from  his  pipe, 
And  a  scornfvd  laugh  laughed  he. 

6  Colder  and  louder  blew  the  wind, 

A  gale  from  the  Northeast, 
The  snow  fell  hissing  in  the  brine. 
And  the  billows  frothed  like  yeast. 
IS3 


154  New  Ballads 

7  Down  came  the  storm,  and  smote  amain 

The  vessel  in  its  strength; 
She  shuddered  and  paused,  like  a  frighted  steed, 
Then  leaped  her  cable's  length. 

8  "Come  hither!  come  hither!  my  little  daughter, 

And  do  not  tremble  so; 
For  I  can  weather  the  roughest  gale 
That  ever  wind  did  blow." 


<3  He  wrapped  her  warm  in  his  seaman's  coat 
Against  the  stinging  blast; 
He  cut  a  rope  from  a  broken  spar, 
And  bound  her  to  the  mast. 

10  "0  father!  I  hear  the  church-bells  ring, 

Oh  say,  what  may  it  be?" 
"'T  is  a  fog-bell  on  a  rock-bound  coast!" — 
And  he  steered  for  the  open  sea. 

11  "O  father!  I  hear  the  sound  of  guns, 

Oh  say,  what  may  it  be?" 
"Some  ship  in  distress,  that  cannot  live 
In  such  an  angry  sea!" 

12  "O  father!  I  see  a  gleaming  light, 

Oh  say,  what  may  it  be?" 
But  the  father  answered  never  a  word, 
A  frozen  corpse  was  he. 

13  Lashed  to  the  helm,  all  stiff  and  stark. 

With  his  face  turned  to  the  skies. 
The  lantern  gleamed  through  the  gleaming  snow 
On  his  fixed  and  glassy  eyes. 


The  Wreck  of  the  Hesperus  155 

14  Then  the  maiden  clasped  her  hands  and  prayed 
That  saved  she  might  be ; 
And  she  thought  of  Christ,  who  stilled  the  wave, 
On  the  Lake  of  Galilee. 


15  And  fast  through  the  midnight  dark  and  drear, 

Through  the  whistling  sleet  and  snow, 
Like  a  sheeted  ghost,  the  vessel  swept 
Tow'rds  the  reef  of  Norman's  Woe. 

16  And  ever  the  fitful  gusts  between 

A  sound  came  from  the  land; 
It  was  the  sound  of  the  trampling  surf 
On  the  rocks  and  the  hard  sea-sand. 


17  The  breakers  were  right  beneath  their  bows, 
She  drifted  a  dreary  wreck, 
And  a  whooping  billow  swept  the  crew 
Like  icicles  from  her  deck. 


18  She  struck  where  the  white  and  fleecy  waves 

Looked  soft  as  carded  wool, 
.    But  the  cruel  rocks,  they  gored  her  side 
Like  the  horns  of  an  angry  bull. 

19  Her  rattling  shrouds,  all  sheathed  in  ice, 

With  the  masts  went  by  the  board; 
Like  a  vessel  of  glass,  she  stove  and  sank, 
Ho!  ho!  the  breakers  roared! 

20  At  daybreak,  on  the  bleak  sea-beach, 

A  fisherman  stood  aghast. 
To  see  the  form  of  a  maiden  fair, 
Lashed  close  to  a  drifting  mast. 


156  New  Ballads 

21  The  salt  sea  was  frozen  on  her  breast, 

The  salt  tears  in  her  eyes; 
And  he  saw  her  hair,  like  the  brown  seaweed, 
On  the  billows  fall  and  rise. 

22  Such  was  the  wreck  of  the  Hesperus, 

In  the  midnight  and  the  snow ! 
Christ  save  us  all  from  a  death  like  this. 
On  the  reef  of  Norman's  Woe. 

Henry  Wadsworth  Longfellow. 

LORD  ULLIN'S  DAUGHTER 

1  A  cmEETAiN,  to  the  Highlands  bound, 

Cries,  "Boatman,  do  not  tarry! 
And  I'll  give  thee  a  silver  pound 
To  row  us  o'er  the  ferry." — 

2  "  Now  who  be  ye,  would  cross  Lochgyle, 

This  dark  and  stormy  water?  " 
"O,  I'm  the  chief  of  Ulva's  isle, 
And  this  Lord  UUin's  daughter. — 

3  "And  fast  before  her  father's  men 

Three  days  we've  fled  together. 
For  should  he  find  us  in  the  glen, 
My  blood  would  stain  the  heather. 

4  "His  horsemen  hard  behind  us  ride; 

Should  they  our  steps  discover. 
Then  who  will  cheer  my  bonny  bride 
When  they  have  slain  her  lover?"— 

5  Out  spoke  the  hardy  Highland  wight, 

"I'll  go,  my  chief— I'm  ready: 
It  is  not  for  your  silver  bright; 
But  for  your  winsome  lady: 


Lord  UlHn's  Daughter  157 

6  "And  by  my  word!  the  bonny  bird 

In  danger  shall  not  tarry: 
So  though  the  waves  are  raging  white, 
I'll  row  you  o'er  the  ferry." — 

7  By  this  the  storm  grew  loud  apace, 

The  water-wraith  was  shrieking; 
And  in  the  scowl  of  Heaven  each  face 
Grew  dark  as  they  were  speaking. 

8  But  still  as  wilder  blew  the  wind, 

And  as  the  night  grew  drearer, 
Adown  the  glen  rode  armed  men, 
Their  trampling  sounded  nearer. — 

g  "O  haste  thee,  haste!"  the  lady  cries, 
"Though  tempests  round  us  gather; 
I'll  meet  the  raging  of  the  skies, 
But  not  an  angry  father."— 

10  The  boat  has  left  a  stormy  land, 

A  stormy  sea  before  her, — • 
When,  oh!  too  strong  for  human  hand, 
The  tempest  gather'd  o'er  her. — • 

11  And  still  they  row'd  amidst  the  roar 

Of  waters  fast  prevailing: 
Lord  Ullin  reach'd  that  fatal  shore, 
His  wrath  was  changed  to  wailing. — 

12  For  sore  dismay'd,  through  storm  and  shade, 

His  child  he  did  discover:— 
One  lovely  hand  she  stretch'd  for  aid. 
And  one  was  round  her  lover. 

13  "Come  back!  come  back!"  he  cried  in  grief, 

"Across  this  stormy  water: 
And  I'll  forgive  your  Highland  chief. 
My  daughter! — oh,  my  daughter!"— 


158  New  Ballads 

14  'Twas  vain: — the  loud  waves  lash'd  the  shore, 
Return  or  aid  preventing: — 
The  waters  wild  went  o'er  his  child, 
And  he  was  left  lamenting. 

Thomas  Campbell. 


Sir  Walter  Scott 
From  the  portrait  by  Sir  John  Watson  Gordon 


LOCHINVAR 

O,  YOUNG  Lochinvar  is  come  out  of  the  west, 

Through  all  the  wide  Border  his  steed  was  the  best; 

And  save  his  good  broadsword  he  weapons  had  none, 

He  rode  all  unarm'd,  and  he  rode  all  alone. 

So  faithful  in  love,  and  so  dauntless  in  war, 

There  never  was  knight  like  the  young  Lochinvar. 


Lochinvar  159 

2  He  staid  not  for  brake,  and  he  stopp'd  not  for  stone, 
He  swam  the  Eske  river  where  ford  there  was  none; 
But  ere  he  alighted  at  Netherby  gate. 

The  bride  had  consented,  the  gallant  came  late: 
For  a  laggard  in  love,  and  a  dastard  in  war, 
Was  to  wed  the  fair  Ellen  of  brave  Lochinvar. 

3  So  boldly  he  enter 'd  the  Netherby  Hall, 

Among  bride's-men,  and  kinsmen,  and  brothers,  and  all: 
Then  spoke  the  bride's  father,  his  hand  on  his  sword, 
(For  the  poor  craven  bridegroom  said  never  a  word,) 
"O  come  ye  in  peace  here,  or  come  ye  in  war, 
Or  to  dance  at  our  bridal,  young  Lord  Lochinvar?  " 

4  "I  long  woo'd  your  daughter,  my  suit  you  denied; — 
Love  swells  like  the  Solway,  but  ebbs  like  its  tide — 
And  now  am  I  come,  with  this  lost  love  of  mine 

To  lead  but. one  measure,  drink  one  cup  of  wine. 
There  are  maidens  in  Scotland  more  lovely  by  far. 
That  would  gladly  be  bride  to  the  young  Lochinvar." 

5  The  bride  kiss'd  the  goblet:  the  knight  took  it  up. 
He  quaff'd  off  the  wine,  and  he  threw  down  the  cup. 
She  look'd  down  to  blush,  and  she  look'd  up  to  sigh, 
With  a  smile  on  her  lips,  and  a  tear  in  her  eye. 

He  took  her  soft  hand,  ere  her  mother  could  bar, — 
"Now  tread  we  a  measure'"  said  young  Lochinvar. 

6  So  stately  his  form,  and  so  lovely  her  face, 
That  never  a  hall  such  a  galliard  did  grace; 

While  her  mother  did  fret,  and  her  father  did  fume, 
And  the  bridegroom  stood  dangling  his  bonnet  and  plume; 
And  the  bride-maidens  whisper'd,  "  'Twere  better  by  far. 
To  have  match'd  our  fair  cousin  with  young  Lochinvar." 

7  One  touch  to  her  hand,  and  one  word  in  her  ear, 

When  they  reach'd  the  hall-door,  and  the  charger  stood  near; 


'i6o  New  Ballads 

So  light  to  the  croupe  the  fair  lady  he  swung,  - 

So  light  to  the  saddle  before  her  he  sprung! 

"She  is  won!  we  are  gone,  over  bank,  bush,  and  scaur; 

They'll  have  fleet  steeds  that  follow,"  quoth  young  Lochinvar. 

8  There  was  mounting  'mong  Grammes  of  the  Netherby  clan; 
Forsters,  Fenwicks,  and  Musgraves,  they  rode  and  they  ran: 
There  was  racing  and  chasing  on  Cannobie  Lee, 
But  the  lost  bride  of  Netherby  ne'er  did  they  see. 
So  daring  in  love,  and  so  dauntless  in  war, 
Have  ye  e'er  heard  of  gallant  like  young  Lochinvar? 

Walter  Scott. 


THE  GLOVE  AND  THE  LIONS 

1  King  Francis  was  a  hearty  king,  and  loved  a  royal  sport, 
And  one  day,  as  his  lions  fought,  sat  looking  on  the  court; 
The  nobles  filled  the  benches,  with  the  ladies  in  their  pride. 
And  'mongst  them  sat  the  Count  de  Lorge,  with  one  for  whom 

he  sighed: 
And  truly  'twas  a  gallant  thing  to  see  that  crowning  show. 
Valor  and  love,  and  a  king  above,  and  the  royal  beasts 

below. 

2  Ramped  and  roared  the  lions,  with  horrid  laughing  jaws; 
They  bit,  they  glared,  gave  blows  like  beams,  a  wind  went 

with  their  paws; 
With  wallowing  might  and  stifled  roar  they  rolled  on  one 

another, 
Till  all  the  pit  with  sand  and  mane  was  in  a  thunderous 

smother; 
The  bloody  foam  above  the  bars  came  whisking  through  the 

air; 
Said  Francis  then,  "Faith,  gentlemen,  we're  better  here  than 

there." 


The  Laird  o'  Cockpen  i6l 

3  De  Lorge's  love  o'erheard  the  King,  a  beauteous  lively  dame, 
With  smiling  lips  and  sharp  bright  eyes,  which  always  seemed 

the  same; 
She  thought,  the  Count  my  lover  is  brave  as  brave  can  be; 
He  surely  would  do  wondrous  things  to  show  his  love  of  me; 
King,  ladies,  lovers,  all  look  on;  the  occasion  is  divine; 
I'll  drop  my  glove,  to  prove  his  love;  great  glory  will  be  mine. 

4  She  dropped  her  glove,  to  prove  his  love,  then  looked  at  him 

and  smiled; 
He  bowed,  and  in  a  moment  leaped  among  the  lions  wild; 
The  leap  was  quick,  return  was  quick,  he  has  regained  his 

place. 
Then  threw  the  glove,  but  not  with  love,  right  in  the  lady's 

face. 
"By  Heaven,"  said  Francis,  "rightly  done!"  and  he  rose 

from  where  he  sat; 
"No  love,"  quoth  he,  "but  vanity,  sets  love  a  task  like  that." 

Leigh  Hunt. 

,  THE  LAIRD  O'  COCKPEN 

1  The  laird  o'  Cockpen,  he's  proud  an'  he's  great, 
His  mind  is  ta'cn  up  wi'  things  o'  the  State; 
He  wanted  a  wife  his  braw  house  to  keep, 
But  favor  wi'  wooin'  was  fashous  to  seek. 

2  Down  by  the  dyke-side  a  lady  did  dwell. 

At  his  table  head  he  thought  she'd  look  well, 
M'Clish's  ae  daughter  o'  Claverse-ha'  Lee, 
A  penniless  lass  wi'  a  lang  pedigree. 

3  His  wig  was  weel  pouther'd,  and  as  gude  as  new, 
His  waistcoat  was  white,  his  coat  it  was  blue; 
He  put  on  a  ring,  a  sword  and  cock'd  hat. 

And  wha  could  refuse  the  laird  wi'  a'  that? 


l62  New  Ballads 

4  He  took  the  grey  mare,  and  rade  cannily, 
An'  rapped  at  the  yett  o'  Claverse-ha'  Lee; 
"Gae  tell  Mistress  Jean  to  come  speedily  ben, — 
She's  wanted  to  speak  to  the  laird  o'  Cockpen." 

5  Mistress  Jean  was  makin'  the  elder-flower  wine. 
"An'  what  brings  the  laird  at  sic  a  like  time?" 
She  put  aff  her  apron,  and  on  her  silk  gown. 
Her  mutch  wi'  red  ribbons,  and  gacd  awa'  down. 

6  An'  when  she  cam'  ben  she  bowed  fu'  low, 
An'  what  was  his  errand  he  soon  let  her  know; 
Amazed  was  the  laird  when  the  lady  said  "Na," 
And  wi'  a  laigh  curtsie  she  turned  awa'. 

7  Dumfounder'd  was  he,  nae  sigh  did  he  gie, 
He  mounted  his  mare — he  rade  cannily; 

An'  aften  he  thought,  as  he  gaed  through  the  glen, 
"She's  daft  to  refuse  the  laird  o'  Cockpen." 

Carolina,  Lady  Nairne. 


THE  COURT  IN' ' 

1  God  made  sech  nights,  all  white  an'  still 

Fur  'z  you  can  look  or  listen. 
Moonshine  an'  snow  on  field  an'  hill, 
All  silence  an'  all  glisten. 

2  Zekle  crep'  up  quite  unbeknown 

An'  peeked  in  thru'  the  winder, 
An'  there  sot  Huldy  all  alone, 
'ith  no  one  nigh  to  hender. 

^  From  Complcle  Writings,  copyright,  1904,  by  Houghton  MifHin  Com- 
pany.    Reprinted  by  permission. 


The  Courtin'  163 

3  A  fireplace  filled  the  room's  one  side 

With  half  a  cord  o'  wood  in — 
There  warn't  no  stoves  (tell  comfort  died) 
To  bake  ye  to  a  puddin'. 

4  The  wa'nut  logs  shot  sparkles  out 

Towards  the  pootiest,  bless  her, 
An'  leetle  flames  danced  all  about 
The  chiny  on  the  dresser. 

5  Agin  the  chimbley  crook-necks  hung, 

An'  in  amongst  'em  rusted 
The  old  queen's-arm  that  gran'ther  Young 
Fetched  back  f'om  Concord  busted. 

6  The  very  room,  coz  she  was  in, 

Seemed  warm  f'om  floor  to  ceilin', 
An'  she  looked  full  ez  rosy  agin 
Ez  the  apples  she  was  peelin'. 

7  'T  was  kin'  o'  kingdom-come  to  look 

On  sech  a  blessed  cretur, 
A  dogrose  blushin'  to  a  brook 
Ain't  modester  nor  sweeter. 

8  He  was  six  foot  o'  man,  A  i, 

Clear  grit  an'  human  natur', 
None  could  n't  quicker  pitch  a  ton 
Nor  dror  a  furrer  straighter. 

g  He  'd  sparked  it  with  full  twenty  gals, 
Hod  squired  'em,  danced  'em,  druv  'em, 
Fust  this  one,  an'  then  thet,  by  spells — 
All  is,  he  could  n't  love  'em. 


164  New  Ballads 

10  But  long  o'  her  his  veins  'ould  run 

All  crinkly  like  curled  maple, 
The  side  she  breshed  felt  full  o'  sun 
Ez  a  south  slope  in  Ap'il. 

11  She  thought  no  v'ice  hed  sech  a  swing 

Ez  hisn  in  the  choir; 
My!  when  he  made  Ole  Hunderd  ring, 
She  knowed  the  Lord  was  nigher. 

12  An'  she'd  blush  scarlit,  right  in  prayer, 

When  her  new  meetin'-bunnet 
Felt  somehow  thru'  its  crown  a  pair 
O'  blue  eyes  sot  upun  it. 

13  Thet  night,  I  tell  ye,  she  looked  some! 

She  seemed  to  've  gut  a  new  soul, 
For  she  felt  sartin-sure  he  'd  come, 
Down  to  her  very  shoe-sole. 

14  She  heered  a  foot,  an'  knowed  it  tu, 

A-raspin'  on  the  scraper, — 
All  ways  to  once  her  feelins  ilew 
Like  sparks  in  burnt-up  paper. 

15  He  kin'  o'  I'itered  on  the  mat. 

Some  doubtfle  o'  the  sekle, 
His  heart  kep'  goin'  pity-pat, 
But  hem  went  pity  Zekle. 

16  An'  yit  she  gin  her  cheer  a  jerk 

Ez  though  she  wished  him  furder, 
An'  on  her  apples  kep'  to  work, 
Parin'  away  like  murder, 


The  Courtin'  165 

17  "You  want  to  see  my  Pa,  I  s'pose?" 

"Wal  ...  no  ...  I  come  dasignin'"^ 
"To  see  my  Ma?    She  's  sprinklin'  clo'es 
Agin  to-morrer's  i'nin'." 

18  To  say  why  gals  act  so  or  so, 

Or  don't,  'ould  be  presumin'; 
Mebby  to  mean  yes  an'  say  no 
Comes  nateral  to  women. 

19  He  stood  a  spell  on  one  foot  fust, 

Then  stood  a  spell  on  t'  other, 
An'  on  which  one  he  felt  the  \\'ust 
He  could  n't  ha'  told  ye  nuther. ' 

20  Says  he,  "I'd  better  call  agin;" 

Says  she,  "Think  likely,  Mister:" 

Thet  last  word  pricked  him  like  a  pin, 

An'  .  .  .  Wal,  he  up  an'  kist  her. 

21  When  Ma  bimeby  upon  'em  slips, 

Huldy  sot  pale  ez  ashes, 
All  kin'  o'  smily  roun'  the  lips 
An'  teary  roun'  the  lashes. 

22  For  she  was  jes'  the  quiet  kind 

Whose  naturs  never  vary, 
Like  streams  that  keep  a  summer  mind 
Snowhid  in  Jenooary. 

23  The  blood  clost  roun'  her  heart  felt  glued 

Too  tight  for  all  expressin', 
Tell  mother  see  how  metters  stood, 
An'  gin  'em  both  her  blessin'. 


i66  New  Ballads 

24  Then  her  red  come  back  like  the  tide 
Down  to  the  Bay  o'  Fundy, 
An'  all  I  know  is  they  was  cried 
In  meetin'  come  nex'  Sunday. 

James  Russell  Lowell. 

ELEGY  ON  THE  DEATH  OF  A  MAD  DOG 

1  Good  people  all,  of  every  sort, 

Give  ear  unto  my  song; 
And  if  you  find  it  wondrous  short, — 
It  cannot  hold  you  long. 

2  In  Islington  there  was  a  man, 

Of  whom  the  world  might  say, 
That  still  a  godly  race  he  ran, — 
Whene'er  he  went  to  pray. 

3  A  kind  and  gentle  heart  he  had. 

To  comfort  friends  and  foes; 

The  naked  every  day  he  clad, — 

When  he  put  on  his  clothes. 

4  And  in  that  town  a  dog  was  found, 

As  many  dogs  there  be, 
Both  mongrel,  puppy,  whelp,  and  hound. 
And  curs  of  low  degree. 

5  This  dog  and  man  at  first  were  friends; 

But  when  a  pique  began, 
The  dog,  to  gain  some  private  ends, 
Went  mad,  and  bit  the  man. 

6  Around  from  all  the  neighboring  streets. 

The  wondering  neighbors  ran, 
And  swore  the  dog  had  lost  his  wits. 
To  bite  so  good  a  man. 


Beth  Gelert  167 

7  The  wound  it  seemed  both  sore  and  sad, 

To  every  Christian  eye; 
And  while  they  swore  the  dog  was  mad, 
They  swore  the  man  would  die. 

8  But  soon  a  wonder  came  to  light, 

That  showed  the  rogues  they  lied; 
The  man  recovered  of  the  bite, 
The  dog  it  was  that  died. 

Oliver  Goldsmith. 

BETH  GELERT 

1  The  spearmen  heard  the  bugle  sound. 

And  cheerily  smiled  the  morn; 
And  many  a  brach,  and  many  a  hound, 
Obeyed  Llewelyn's  horn. 

2  And  still  he  blew  a  louder  blast. 

And  gave  a  lustier  cheer: 
"Come,  Gelert,  come,  wert  never  last 
Llewelyn's  horn  to  hear. 

3  "Oh,  where  doth  faithful  Gelert  roam, 

The  flower  of  all  his  race; 
So  true,  so  brave — a  lamb  at  home, 
A  lion  in  the  chase?" 

4  In  sooth  he  was  a  peerless  hound, 

Thegiftof  royal  John; 
But  now  no  Gelert  could  be  found, 
And  all  the  chase  rode  on. 


5 


That  day  Llewelyn  little  loved 
The  chase  of  hart  and  hare; 

And  scant  and  small  the  booty  proved, 
P'or  Gelert  was  not  there. 


l68  New  Ballads 

6  Un pleased,  Llewelyn  homeward  hied, 

When,  near  the  portal  seat, 
His  truant  Gelert  he  espied, 
Bounding  his  lord  to  greet. 

7  But,  when  he  gained  his  castle-door, 

Aghast  the  chieftain  stood; 
The  hound  all  o'er  was  smeared  with  gore; 
His  lips,  his  fangs,  ran  blood. 

8  Llewelyn  gazed  with  fierce  surprise; 

Unused  such  looks  to  meet, 
His  favorite  checked  his  joyful  guise, 
And  crouched  and  licked  his  feet. 

9  Onward,  in  haste,  Llewelyn  passed, 

And  on  went  Gelert  too; 
And  still,  where'er  his  eyes  he  cast, 
Fresh  blood-gouts  shocked  his  view. 

10  O'erturned  his  infant's  bed  he  found, 

With  blood-stained  covert  rent; 
And  all  around,  the  walls  and  ground 
With  recent  blood  besprent. 

11  He  called  his  child — no  voice  replied, — 

He  searched  with  terror  wild; 
Blood,  blood  he  found  on  every  side, 
But  nowhere  found  his  child. 

12  "Hell-hound!  my  child's  by  thee  devoured,' 

The  frantic  father  cried ; 
And  to  the  hilt  his  vengeful  sword 
He  plunged  in  Gelert's  side. 


I 


The  Dream  of  Eugene  Aram  169 

13  Aroused  by  Gelert's  dying  yeU, 

'     Some  slumberer  wakened  nigh: 
What  words  the  parent's  joy  could  tell 
To  hear  his  infant's  cry! 

14  Concealed  beneath  a  tumbled  heap 

His  hurried  search  had  missed, 
All  glowing  from  his  rosy  sleep, 
The  cherub  boy  he  kissed. 

15  Nor  scathe  had  he,  nor  harm,  nor  dread. 

But,  the  same  couch  beneath, 
Lay  a  gaunt  wolf,  all  torn  and  dead. 
Tremendous  still  in  death. 

William  Robert  Spencer. 


TEE  DREAM  OF  EUGENE  ARAM 

1  'TwAS  in  the  prime  of  summer  time, 

An  evening  calm  and  cool, 
And  four-and-twenty  happy  boys 

Came  bounding  out  of  school: 
There  were  some  that  ran  and  some  that  leapt. 

Like  troutlets  in  a  pool. 

2  Away  they  sped  with  gamesome  minds. 

And  souls  untouched  by  sin; 
To  a  level  mead  they  came,  and  there 

They  drave  the  wickets  in: 
Pleasantly  shone  the  setting  sun 

Over  the  town  of  Lynn. 

3  Like  sportive  deer  they  coursed  about, 

And  shouted  as  they  ran, — 


170  New  Ballads 

Turning  to  mirth  all  things  of  earth, 

As  only  boyhood  can ; 
But  the  Usher  sat  remote  from  all, 

A  melancholy  man! 

4  His  hat  was  off,  his  vest  apart, 

To  catch  heaven's  blessed  breeze; 

For  a  burning  thought  was  in  his  brow. 
And  his  bosom  ill  at  ease: 

So  he  leaned  his  head  on  his  hands,  and  read 
The  book  between  his  knees! 


5  Leaf  after  leaf  he  turned  it  o'er. 

Nor  ever  glanced  aside, 
For  the  peace  of  his  soul  he  read  that  book 

In  the  golden  eventide: 
Much  study  had  made  him  very  lean, 

And  pale,  and  leaden-eyed. 

6  At  last  he  shut  the  pond'rous  tome, 

With  a  fast  and  fervent  grasp 
He  strained  the  dusky  covers  close, 

And  fixed  the  brazen  hasp: 
"Oh,  God!  could  I  so  close  my  mind, 

And  clasp  it  with  a  clasp!" 

7  Then  leaping  on  his  feet  upright, 

Some  moody  turns  he  took, — 
Now  up  the  mead,  then  down  the  mead, 

And  past  a  shady  nook, — 
And,  lo!  he  saw  a  little  boy 

That  pored  upon  a  book. 

8  "My  gentle  lad,  what  is't  you  read — 

Romance  or  fairy  fable? 


The  Dream  of  Eugene  Aram  171 

Or  is  it  some  historic  page, 

Of  kings  and  crowns  unstable?" 
The  young  boy  gave  an  upward  glance, — 

"It  is 'The  Death  of  Abel.'" 


g  The  Usher  took  six  hasty  strides, 
As  smit  with  sudden  pain, — 

Six  hasty  strides  beyond  the  place, 
Then  slowly  back  again; 

And  down  he  sat  beside  the  lad, 
And  talked  with  him  of  Cain; 

10  And,  long  since  then,  of  bloody  men, 

Whose  deeds  tradition  saves; 
Of  lonely  folk  cut  off  unseen. 

And  hid  in  sudden  graves; 
Of  horrid  stabs,  in  groves  forlorn, 

And  murders  done  in  caves; 

11  And  how  the  sprites  of  injured  men 

Shriek  upward  from  the  sod, — 
Aye,  how  the  ghostly  hand  will  point 

To  show  the  burial  clod; 
And  unknown  facts  of  guilty  acts 

Are  seen  in  dreams  from  God ! 

12  He  told  how  murderers  walk  the  earth 

Beneath  the  curse  of  Cain, — 
With  crimson  clouds  before  their  eyes, 

And  flames  about  their  brain: 
For  blood  has  left  upon  their  souls 

Its  everlasting  stain! 

13  "And  well,"  quoth  he,  "I  know,  for  truth. 

Their  pangs  must  be  extreme,^ 


17^  New  Ballads 

Woe,  woe,  unutterable  woe, — 
Who  spill  life's  sacred  stream! 

For  why?    Methought,  last  night  I  wrought 
A  murder,  in  a  dream ! 

14  "One  that  had  never  done  me  wrong — ■ 

A  feeble  man,  and  old; 
I  led  him  to  a  lonely  field, — 

The  moon  shone  clear  and  cold : 
Now  here,  said  I,  this  man  shall  die, 

And  I  will  have  his  gold! 

15  "Two  sudden  blows  with  a  ragged  stick, 

And  one  with  a  heavy  stone. 
One  hurried  gash  with  a  hasty  knife,— 

And  then  the  deed  was  done: 
There  was  nothing  lying  at  my  foot 

But  lifeless  flesh  and  bone! 

16  "Nothing  but  lifeless  flesh  and  bone, 

That  could  not  do  me  ill; 
And  yet  I  feared  him  all  the  more. 

For  lying  there  so  still : 
There  was  a  manhood  in  his  look. 

That  murder  could  not  kill! 

17  "And,  lo!  the  universal  air 

Seemed  lit  with  ghastly  flame; — 
Ten  thousand  thousand  dreadful  eyes 

Were  looking  down  in  blame: 
I  took  the  dead  man  by  his  hand. 

And  called  upon  his  name! 

18  "Oh,  God!  it  made  me  quake  to  see 

Such  sense  within  the  slain! 


The  Dream  of  Eugene  Aram  173 

But  when  I  touched  the  lifeless  clay, 

The  blood  gushed  out  amain ! 
For  every  clot,  a  burning  spot, 

Was  scorching  in  my  brain! 

19  "My  head  was  like  an  ardent  coal, 

My  heart  as  solid  ice; 
My  wretched,  wretched  soul,  I  knew, 

Was  at  the  Devil's  price: 
A  dozen  times  I  groaned;  the  dead 

Had  never  groaned  but  twice! 

20  "And  now,  from  forth  the  frowning  sky, 

From  the  Heaven's  topmost  height, 
I  heard  a  voice — the  awful  voice 

Of  the  blood-avenging  Sprite: — 
'Thou  guilty  man!  take  up  thy  dead 

And  hide  it  from  my  sight!' 

21  "I  took  the  dreary  body  up, 

And  cast  it  in  a  stream, — 
A  sluggish  water,  black  as  ink 

The  depth  was  so  extreme: — 
My  gentle  Boy,  remember  this 

Is  nothing  but  a  dream! 

22  "Down  went  the  corse  with  a  hollow  plunge, 

And  vanished  in  the  pool; 
Anon  I  cleansed  my  bloody  hands, 

And  washed  my  forehead  cool, 
And  sat  among  the  urchins  young, 

That  evening  in  the  school, 

23  "Oh,  Heaven,  to  think  of  their  white  souls, 

And  mine  so  black  and  grim! 


174  New  Ballads 

I  could  not  share  in  childish  prayer, 
Nor  join  in  Evening  Hymn : 

Like  a  Devil  of  the  Pit  I  seemed 
'Mid  holy  Cherubim ! 

24  "And  Peace  went  with  them,  one  and  all, 

And  each  cahn  pillow  spread ; 
But  Guilt  was  my  grim  Chamberlain 

That  lighted  me  to  bed; 
And  drew  my  midnight  curtains  round 

With  fingers  bloody  red! 

25  "All  night  I  lay  in  agony, 

In  anguish  dark  and  deep; 
My  fevered  eyes  I  dared  not  close, 

But  stared  aghast  at  Sleep: 
For  Sin  had  rendered  unto  her 

The  keys  of  Hell  to  keep! 

26  "All  night  I  lay  in  agony, 

From  weary  chime  to  chime. 
With  one  besetting  horrid  hint, 

That  racked  me  all  the  time, — 
A  mighty  yearning,  like  the  first 

Fierce  impulse  unto  crime! 

27  "One  stern  tyrannic  thought,  that  made 

All  other  thoughts  its  slave; 
Stronger  and  stronger  every  pulse 

Did  that  temptation  crave,— 
Still  urging  me  to  go  and  see 

The  Dead  Man  in  his  grave! 

28  "Heavily  I  rose  up,  as  soon 

As  light  was  in  the  sky, 


The  Dream  of  Eugene  Aram  175 

And  sought  the  black  accursed  pool 

With  a  wild  misgiving  eye; 
And  I  saw  the  Dead  in  the  river  bed, 

For  the  faithless  stream  was  dry. 

2g  "Merrily  rose  the  lark,  and  shook 

The  dew-drop  from  its  wing; 
But  I  never  marked  its  morning  flight, 

I  never  heard  it  sing: 
For  I  was  stooping  once  again 

Under  the  horrid  thing. 

30  "With  breathless  speed,  like  a  soul  in  chase, 

I  took  him  up  and  ran; — 
There  was  no  time  to  dig  a  grave 

Before  the  day  began: 
In  a  lonesome  wood,  with  heaps  of  leaves, 

I  hid  the  murdered  man! 

31  "And  all  that  day  I  read  in  school, 

But  my  thought  was  other  where; 
As  soon  as  the  mid-day  task  was  done, 

In  secret  I  was  there: 
And  a  mighty  wind  had  swept  the  leaves. 

And  still  the  corse  was  bare! 

32  "Then  down  I  cast  me  on  my  face, 

And  first  began  to  weep, 
For  I  knew  my  secret  then  was  one 

That  earth  refused  to  keep: 
Or  land  or  sea,  though  he  should  be 

Ten  thousand  fathoms  deep. 

33  "So  wills  the  fierce  avenging  Sprite, 

Till  blood  for  blood  atones! 


176  New  Ballads 

Ay,  though  he's  buried  in  a  cave, 

And  trodden  down  with  stones, 
And  years  have  rotted  off  his  flesh, — • 

The  world  shall  see  his  bones! 

34  "Oh,  God!  that  horrid,  horrid  dream 

Besets  me  now  awake! 
Again— again,  with  dizzy  brai». 

The  human  life  I  take; 
And  my  red  right  hand  grows  raging  hot, 

Like  Cranmer's  at  the  stake. 

35  "And  still  no  peace  for  the  restless  clay, 

Will  wave  or  mould  allow; 
The  horrid  thing  pursues  my  soul, — 

It  stands  before  me  now!" 
The  fearful  Boy  looked  up,  and  saw 

Huge  drops  upon  his  brow. 

36  That  very  night,  while  gentle  sleep 

The  urchin  eyeUds  kissed. 
Two  stern-faced  men  set  out  from  Lynn, 

Through  the  cold  and  heavy  mist; 
And  Eugene  Aram  walked  between. 

With  gyves  upon  his  wrist. 

Thomas  Hood. 

THE  NECKAN 

1  In  summer,  on  the  headlands, 

The  Baltic  Sea  along. 
Sits  Neckan  with  his  harp  of  gold. 
And  sings  his  plaintive  song. 

2  Green  rolls  beneath  the  headlands. 

Green  rolls  the  Baltic  Sea; 
And  there,  below  the  Neckan's  feet, 
His  wife  and  children  be. 


The  Neckan  177 

3  He  sings  not  of  the  ocean, 

Its  shells  and  roses  pale; 
Of  earth,  of  earth  the  Neckan  sings, 
He  hath  no  other  tale. 

4  He  sits  upon  the  headland, 

And  sings  a  mournful  stave 
Of  all  he  saw  and  felt  on  earth 
Far  from  the  kind  sea-wave. 

5  Sings  how,  a  knight,  he  wander'd 

By  castle,  field,  and  town — 
But  earthly  knights  have  harder  hearts 
Than  the  sea-children  own. 

6  Sings  of  his  earthly  bridal — 

Priest,  knights,  and  ladies  gay. 
" — And  who  art  thou,"  the  priest  began, 
"Sir  Knight,  who  wedd'st  to-day?" — 

7  " — I  am  no  knight,"  he  answered; 

"From  the  sea-waves  I  come." — 
The  knights  drew  sword,  the  ladies  scream'd, 
The  surphced  priest  stood  dumb. 

8  He  sings  how  from  the  chapel 

He  vanish'd  with  his  bride, 
And  bore  her  down  to  the  sea-halls. 
Beneath  the  salt  sea- tide. 

9  He  sings  how  she  sits  weeping 

'Mid  shells  that  round  her  lie. 
" — False  Neckan  shares  my  bed,"  she  weeps; 
"No  Christian  mate  have  I." — 

10  He  sings  how  through  the  billows 
He  rose  to  earth  again, 
And  sought  a  priest  to  sign  the  cross, 
That  Neckan  Heaven  might  gain, 


178  New  Ballads 

11  He  sings  how,  on  an  evening, 

Beneath  the  birch-trees  cool, 
He  sate  and  play'd  his  harp  of  gold, 
Beside  the  river-pool. 

12  Beside  the  pool  sate  Neckan — 

Tears  fill'd  his  mild  blue  eye. 
On  his  white  mule,  across  the  bridge, 
A  cassock'd  priest  rode  by. 

13  "—Why  sitt'st  thou  there,  O  Neckan, 

And  play'st  thy  harp  of  gold? 
Sooner  shall  this  my  staff  bear  leaves, 
Than  thou  shalt  Heaven  behold." 

14  But,  lo,  the  staff,  it  budded! 

It  green'd,  it  branch'd,  it  waved. 
" — O  ruth  of  God,"  the  priest  cried  out, 
"This  lost  sea-creature  saved!" 

15  The  cassock'd  priest  rode  onwards. 

And  vanished  with  his  mule; 
But  Neckan  in  the  twilight  grey 
Wept  by  the  river-pool. 

i6  He  wept:  "The  earth  hath  kindness. 
The  sea,  the  starry  poles; 
Earth,  sea,  and  sky,  and  God  above — 
But,  ah,  not  human  souls!" 

17  In  summer,  on  the  headlands, 
The  Baltic  Sea  along, 
Sits  Neckan  with  his  harp  of  gold, 
And  sings  this  plaintive  song. 

Matthew  Arnolp, 


The  Ballad  of  Father  Gilllgan  179 


THE  BALLAD  OF  FATHER  GILLIGAN  ^ 

1  The  old  priest  Peter  GUIigan 
Was  weary  night  and  day, 

For  half  his  flock  were  in  their  beds, 
Or  under  green  sods  lay. 

2  Once,  while  he  nodded  on  a  chair, 
At  the  moth-hour  of  eve. 
Another  poor  man  sent  for  him, 
And  he  began  to  grieve. 

3  "I  have  no  rest,  nor  joy,  nor  peace, 
For  people  die  and  die;" 

And  after  cried  he,  "God  forgive! 
My  body  spake,  not  I!" 

4  He  knelt,  and  leaning  on  the  chair 
He  prayed  and  fell  asleep; 

And  the  moth-hour  went  from  the  fields, 
And  stars  began  to  peep. 

5  They  slowly  into  millions  grew, 
And  leaves  shook  in  the  wind; 

And  God  covered  the  world  with  shade, 
And  whispered  to  mankind. 

6  Upon  the  time  of  sparrow  chirp 
When  the  moths  came  once  more. 
The  old  priest  Peter  Gilligan 
Stood  upright  on  the  floor. 

7  "Mavrone,  mavrone!  the  man  has  died. 
While  I  slept  on  the  chair;" 

He  roused  his  horse  out  of  its  sleep. 
And  rode  with  little  care. 
^Frorn  Poetical  Works,  copyright,   1912,  by  the  Macmillan  Company, 
Keprinted  by  permission, 


i8o  New  Ballads 

8  He  rode  now  as  he  never  rode, 
By  rocky  lane  and  fen; 

The  sick  man's  wife  opened  the  door: 
"Father!  you  come  again!" 

9  "And  is  the  poor  man  dead?"  he  cried. 
"He  died  an  hour  ago." 

The  old  priest  Peter  Gilligan 
In  grief  swayed  to  and  fro. 

10  "When  you  were  gone,  he  turned  and  died 
As  merry  as  a  bird." 

The  old  priest  Peter  Gilligan 
He  knelt  him  at  that  word. 

11  "He  who  hath  made  the  night  of  stars 
For  souls,  who  tire  and  bleed, 

Sent  one  of  His  great  angels  down 
To  help  me  in  my  need. 

12  "He  who  is  wrapped  in  purple  robes, 
With  planets  in  His  care, 

Had  pity  on  the  least  of  things 
Asleep  upon  a  chair." 

William  Butler  Yeats. 


LITTLE  MOCCASINS » 

1  Come  out,  O  Little  Moccasins,  and  frolic  on  the  snow! 
Come  out,  O  tiny  beaded  feet,  and  twinkle  in  the  light! 
I'll  play  the  old  Red  River  reel,  you  used  to  love  it  so: 
Awake,  O  Little  Moccasins,  and  dance  for  me  to-night! 

^  From  Rhymes  of  a  Rolling  Stone,  copyright,  19 12,  by  Dodd,  Mead  ^  Cq. 
Reprinted  by  permission. 


Little  Moccasins  l8l 

2  Your  hair  was  all  a  gleamy  gold,  your  eyes  a  corn-flower 

blue; 
Your  cheeks  were  pink  as  tinted  shells,  you  stepped  light  as  a 

fawn; 
Your  mouth  was  like  a  coral  bud,  with  seed  pearls  peeping 

through; 
As  gladdening  as  Spring  you  were,  as  radiant  as  dawn. 

3  Come  out,  O  Little  Moccasins!    I'll  play  so  soft  and  low, 
The  songs  you  loved,  the  old  heart-songs  that  in  my  mem'ry 

ring; 

0  child,  I  want  to  hear  you  now  beside  the  campfire  glow! 
With  all  your  heart  a-throbbing  in  the  simple  words  you 

sing. 

4  For  there  was  only  you  and  I,  and  you  were  all  to  me; 
And  round  us  were  the  barren  lands,  but  little  did  we  fear; 
Of  all  God's  happy,  happy  folks  the  happiest  were  we.  .  .  . 
(Oh,  call  her,  poor  old  fiddle  mine,  and  maybe  she  will 

hear!) 

5  Your  mother  was  a  half-breed  Cree,  but  you  were  white  all 

through; 
And  I,  your  father  was — but  well,  that's  neither  here  nor 
there; 

1  only  know,  my  little  Queen,  that  all  my  world  was  you. 
And  now  that  world  can  end  to-night,  and  I  will  never  care. 

6  For  there's  a  tiny  wooden  cross  that  pricks  up  through  the 

snow: 
(Poor  Little  Moccasins!  you're  tired,  and  so  you  lie  at  rest.) 
And  there's  a  gray-haired,  weary  man  beside  the  campfire 

glow: 
(O  fiddle  mine!   the  tears  to-night  are  drumming  on  your 

breast.) 

Robert  W.  Service. 


l82  New  Ballads 


OLIVER  WEST  i 

1  Oliver  West  came  riding  down; 

His  face  was  lean  and  keen  and  brown, 
And  his  eyes  were  fixed  on  the  desert  town 
At  the  end  of  the  Sunset  Trail. 

2  Without  the  ghost  of  a  good  excuse, 

He  set  his  spurs  in  his  roan  cayuse, 
"Lay  toit,  Sarko!    Cuther loose!" 
And  the  pebbles  flew  like  hail.  • 

3  "Hi!  Yip!  I  can  hear  the  silver  strings, 

And  the  song  that  the  little  Bonita  sings; 
Say,  Sarko,  I  wish  that  your  feet  were  wings, 
But  you're  doin'  your  best,  all  right!" 

4  The  sun  rolled  down  to  the  western  range, 

And  he  watched  the  shadows  shift  and  change, 
And  the  little  lights  of  the  town  looked  strange 
As  they  beckoned  across  the  night. 

5  An  hour — and  he  clinked  to  the  doorway  glare 

Of  the  'dobe.    The  singing  girl  was  there, 
With  a  southern  rose  in  her  midnight  hair. 
And  lips  like  a  bud  of  June. 

6  "Onda,  La  Onda,"  the  song  began. 

As  softly  the  silver  music  ran 
To  the  heart  of  the  swart  El  Capitan, 
'T  was  the  Gringo  lover's  tune. 

7  The  little  Bonita  saw  and  smiled, 

With  the  pouting  lips  of  a  teasing  child; 
She  loved — but  the  Gringo  was  not  beguiled; 
'T  was  a  heart  that  she  could  not  tame. 

*  From  Songs  of  the  Outlands:  Ballads  of  the  Hoboes  and  Other  Verse, 
copyright,  1914,  by  Henry  Herbert  Knibbs.    Reprinted  by  permission. 


The  War-Song  of  Dinas  Vawr  183 

8  A  word— and  the  swell  of  the  music  broke; 

The  room  was  a  pit  of  flame  and  smoke, 
But  Oliver  West  not  a  word  he  spoke, 
As  into  the  night  he  came. 

9  Then  with  more  than  the  ghost  of  a  good  excuse, 

He  set  his  spurs  in  his  roan  cayuse; 
"Lay  to  it,  Sarko!    Hell's  broke  loose!" 
And  the  pebbles  flew  like  hail. 

10  "Onda,  La  Onda's  a  right  good  song," 
Said  Oliver  West  as  he  loped  along; 
"Was  it  he  or  she  or  me  done  wrong? 

Well,  she's  there— and  I'm  here,  and  we're  goin'  strong, 
Back  over  the  Sunset  Trail." 

Henry  Herbert  Knibbs. 

THE  W ARSON G  OF  DINAS  VAWR 

1  The  mountain  sheep  are  sweeter, 
But  the  valley  sheep  are  fatter; 
We  therefore  deemed  it  meeter 
To  carry  off  the  latter. 

We  made  an  expedition; 
We  met  an  host  and  quelled  it; 
We  forced  a  strong  position, 
And  killed  the  men  who  held  it. 

2  On  Dyfed's  richest  valley, 

Where  herds  of  kine  were  browsing, 

We  made  a  mighty  sally, 

To  furnish  our  carousing. 

Fierce  warriors  rushed  to  meet  us; 

We  met  them,  and  o'erthrew  them: 

They  struggled  hard  to  beat  us; 

But  we  conquered  them,  and  slew  them. 


l84  New  Ballads 

2,  As  we  drove  our  prize  at  leisure, 
The  king  marched  forth  to  catch  us: 
His  rage  surpassed  all  measure, 
But  his  people  could  not  match  us. 
He  fled  to  his  hall-pUlars; 
And,  ere  our  force  we  led  off. 
Some  sacked  his  house  and  cellars, 
While  others  cut  his  head  off. 

4  We  there,  in  strife  bewild'ring, 
Spilt  blood  enough  to  swim  in: 
We  orphaned  many  children, 
And  widowed  many  women. 
The  eagles  and  the  ravens 
We  glutted  with  our  foemen; 
The  heroes  and  the  cravens, 
The  spearmen  and  the  bowmen. 

5  We  brought  away  from  battle, 

And  much  their  land  bemoaned  them, 

Two  thousand  head  of  cattle. 

And  the  head  of  him  who  owned  them : 

Ednyfed,  King  of  Dyfed, 

His  head  was  borne  before  us; 

His  wine  and  beasts  supplied  our  feasts. 

And  his  overthrow,. our  chorus. 

Thomas  Love  Peacock. 


HOME  THEY  BROUGHT 

Home  they  brought  her  warrior  dead: 
She  nor  swoon'd,  nor  utter'd  cry: 

All  her  maidens,  watching,  said, 
"She  must  weep  or  she  will  die." 


How  they  Brought  the  Good  News        185 

2  Then  they  praised  him,  soft  and  low, 

Call'd  him  worthy  to  be  loved, 
Truest  friend  and  noblest  foe; 
Yet  she  neither  spoke  nor  moved. 

3  Stole  a  maiden  from  her  place, 

Lightly  to  the  warrior  stept, 
Took  the  face-cloth  from  the  face; 
Yet  she  neither  moved  nor  wept. 

4  Rose  a  nurse  of  ninety  years. 

Set  his  child  upon  her  knee — ■ 
Like  summer  tempest  came  her  tears — 
''Sweet  my  child,  I  live  for  thee." 

Alfred,  Lord  Tennyson. 


HOW  THEY  BROUGHT  THE  GOOD  NEWS  FROM  GHENT 
TO  AIX 

16 — 

1  I  SPRANG  to  the  stirrup,  and  Joris,  and  he; 

I  galloped,  Dirck  galloped,  we  galloped  all  three; 
"Good  speed!"  cried  the  watch,  as  the  gate-bolts  undrew; 
"Speed!"  echoed  the  wall  to  us  galloping  through; 
Behind  shut  the  postern,  the  lights  sank  to  rest. 
And  into  the  midnight  we  galloped  abreast. 

2  Not  a  word  to  each  other;  we  kept  the  great  pace 

Neck  by  neck,  stride  by  stride,  never  changing  our  place; 
I  turned  in  my  saddle  and  made  its  girths  tight, 
Then  shortened  each  stirrup,  and  set  the  pique  right, 
Rebuckled  the  cheek-strap,  chained  slacker  the  bit, 
Nor  galloped  less  steadily  Roland  a  whit. 


l86  New  Ballads 

3  'Twas  moonset  at  starting;  but  while  we  drew  near 
Lokeren,  the  cocks  crew  and  twilight  dawned  clear; 
At  Boom,  a  great  yellow  star  came  out  to  see; 

At  Diiffeld,  'twas  morning  as  plain  as  could  be; 
And   from    Mecheln   church-steeple   we   heard    the   half- 
chime, 
So,  Joris  broke  silence  with,  "Yet  there  is  time!" 

4  At  Aershot,  up  leaped  of  a  sudden  the  sun, 

And  against  him  the  cattle  stood  black  every  one, 
To  stare  thro'  the  mist  at  us  galloping  past. 
And  I  saw  my  stout  galloper  Roland  at  last, 
With  resolute  shoulders,  each  butting  away 
The  haze,  as  some  bluflf  river  headland  its  spray: 

5  And  his  low  head  and  crest,  just  one  sharp  ear  bent  back 
For  my  voice,  and  the  other  pricked  out  on  his  track; 
And  one  eye's  black  intelligence, — ever  that  glance 
O'er  its  white  edge  at  me,  his  own  master,  askance! 
And  the  thick  heavy  spume-flakes  which  aye  and  anon 
His  fierce  lips  shook  upwards  in  galloping  on. 

6  By  Hasselt,  Dirck  groaned;  and  cried  Joris,  "Stay  spur! 
Your  Roos  galloped  bravely,  the  fault's  not  in  her, 
We'll  remember  at  Aix" — for  one  heard  the  quick  wheeze 
Of  her  chest,  saw  the  stretched  neck  and  staggering  knees, 
And  sunk  tail,  and  horrible  heave  of  the  flank, 

As  down  on  her  haunches  she  shuddered  and  sank. 

7  So,  we  were  left  galloping,  Joris  and  I, 

Past  Looz  and  past  Tongres,  no  cloud  in  the  sky; 

The  broad  sun  above  laughed  a  pitiless  laugh, 

'Neath  our  feet  broke  the  brittle  bright  stubble  like  chaff; 

Till  over  by  Dalhem  a  dome-spire  sprang  white, 

And  "Gallop,"  gasped  Joris,  "for  Aix  is  in  sight!" 


The  Highwayman  187 

8  "How  they'll  greet  us!" — and  all  in  a  moment  his  roan 
Rolled  neck  and  croup  over,  lay  dead  as  a  stone; 

And  there  was  my  Roland  to  bear  the  whole  weight 
Of  the  news  which  alone  could  save  Aix  from  her  fate, 
With  his  nostrils  like  pits  full  of  blood  to  the  brim, 
And  with  circles  of  red  for  his  eye-sockets'  rim. 

9  Then  I  cast  loose  my  buffcoat,  each  holster  let  fall, 
Shook  off  both  my  jack-boots,  let  go  belt  and  all, 
Stood  up  in  the  stirrup,  leaned,  patted  his  ear, 

Called  my  Roland  his  pet-name,  my  horse  without  peer; 
Clapped  my  hands,  laughed  and  sang,  any  noise,  bad  or  good, 
Till  at  length  into  Aix  Roland  galloped  and  stood. 

10  And  all  I  remember  is — friends  flocking  round 

As  I  sat  with  his  head  'twixt  my  knees  on  the  ground; 
And  no  voice  but  was  praising  this  Roland  of  mine, 
As  I  poured  down  his  throat  our  last  measure  of  wine, 
Which  (the  burgesses  voted  by  common  consent) 
Was  no  more  than  his  due  who  brought  good  news  from 
Ghent. 

Robert  Browning. 


THE  HIGHWAYMAN'- 
Part  One 


1  The  wind  was  a  torrent  of  darkness  among  the  gusty  trees, 
The  moon  was  a  ghostly  galleon  tossed  upon  cloudy  seas. 
The  road  was  a  ribbon  of  moonlight  over  the  purple  moor, 
And  the  highwayman  came  riding — 

Riding — riding — , 
The  highwayman  came  riding,  up  to  the  old  inn-door. 

^  From  Collected  Poems,  copyright,  igi3,  by  Frederick  A.  Stokes  Com- 
pany.   Reprinted  by  permission. 


i88  New  Ballads 

II 

2  He'd  a  French  cocked-hat  on  his  forehead,  a  bunch  of  lace 

at  his  chin, 
A  coat  of  the  claret  velvet,  and  breeches  of  brown  doe-skin; 
They  fitted  with  never  a  wrinkle:  his  boots  were  up  to  the 

thigh! 
And  he  rode  with  a  jewelled  twinkle, 

His  pistol  butts  a-twinkle, 
His  rapier  hilt  a-twinkle,  under  the  jewelled  sky. 

HI 

3  Over  the  cobbles  he  clattered  and  clashed  in  the  dark  inn- 

yard, 
And  he  tapped  with  his  whip  on  the  shutters,  but  all  was 

locked  and  barred; 
He  whistled  a  tune  to  the  window,  and  who  should  be  waiting 

there 
But  the  landlord's  black-eyed  daughter, 

Bess,  the  landlord's  daughter, 
Plaiting  a  dark  red  love-knot  into  her  long  black  hair. 

IV 

4  And  dark  in  the  dark  old  inn-yard  a  stable- wicket  creaked 
Where  Tim  the  ostler  listened;  his  face  was  white  and 

peaked; 
His  eyes  were  hoUows  of  madness,  his  hair  like  mouldy  hay, 
But  he  loved  the  landlord's  daughter, 

The  landlord's  red-lipped  daughter, 
Dumb  as  a  dog  he  listened,  and  he  heard  the  robber  say — 

V 

5  "One  kiss,  my  bonny  sweetheart,  I'm  after  a  prize  to-night, 
But  I  shall  be  back  with  the  yellow  gold  before  the  morning 

light; 


The  Highwayman  189 

Yet,  if  they  press  me  sharply,  and  harry  me  through  the  day, 
Then  look  for  me  by  moonlight, 

Watch  for  me  by  moonlight, 
I'll  come  to  thee  by  moonlight,  though  hell  should  bar  the 
way." 

VI 

6  He  rose  upright  in  his  stirrups;  he  scarce  could  reach  her  hand, 
But  she  loosened  her  hair  i'  the  casement!    His  face  burnt 

like  a  brand 
As  the  black  cascade  of  perfume  came  tumbling  over  his 

breast; 
And  he  kissed  its  waves  in  the  moonlight, 

(Oh,  sweet  black  waves  in  the  moonlight!) 
Then  he  tugged  at  his  rein  in  the  moonlight,  and  galloped 

away  to  the  West. 

Part  Two 
I 

7  He  did  not  come  in  the  dawning;  he  did  not  come  at  noon; 
And  out  o'  the  tawny  sunset,  before  the  rise  o'  the  moon. 
When  the  road  was  a  gipsy's  ribbon,  looping  the  purple  moor, 
A  red-coat  troop  came  marching — 

Marching — marching — 
King  George's  men  came  marching,  up  to  the  old  inn-door. 

II 

8  They  said  no  word  to  the  landlord,  they  drank  his  ale  instead. 
But  they  gagged  his  daughter  and  bound  her  to  the  foot  of 

her  narrow  bed; 
Two  of  them  knelt  at  her  casement,  with  muskets  at  their 

side! 
There  was  death  at  every  window; 

And  hell  at  one  dark  window; 
For  Bess  could  see,  through  her  casement,  the  road  that  he 

would  ride. 


190  New  Ballads 

m 

9  They  had  tied  her  up  to  attention,  with  many  a  sniggering 
jest; 
They  had  bound  a  musket  beside  her,  with  the  barrel  be- 
neath her  breast ! 
"Now  keep  good  watch!"  and  they  kissed  her. 

She  heard  the  dead  man  say — 
Look  for  me  by  moonlight; 

Watch  for  me  by  moonlight; 
ril  come  to  thee  by  moonlight,  though  hell  should  bar  the  way! 

IV 

10  She  twisted  the  hands  behind  her;  but  all  the  knots  held  good! 
She  writhed  her  hands  till  her  fingers  were  wet  with  sweat  or 

blood! 
They  stretched  and  strained  in  the  darkness,  and  the  hours 

crawled  by  like  years, 
Till,  now,  on  the  stroke  of  midnight, 

Cold,  on  the  stroke  of  midnight, 
The  tip  of  one  finger  touched  it!  The  trigger  at  least  was  hers! 

V 

1 1  The  tip  of  one  finger  touched  it ;  she  strove  no  more  for  the  rest ! 
Up,  she  stood  up  to  attention,  with  the  barrel  beneath  her 

breast, 
She  would  not  risk  their  hearing;  she  would  not  strive  again; 
For  the  road  lay  bare  in  the  moonlight; 

Blank  and  bare  in  the  moonlight; 
And  the  blood  of  her  veins  in  the  moonlight  throbbed  to  her 
love's  refrain. 

VI 

12  Tlot-tlot;  tlot-tlot!    Had    they  heard   it?    The  horse-hoofs 

ringing  clear; 
Tlot-tlot,  tlot-tlot,  in  the  distance?    Were  they  deaf  that  they 
did  not  hear? 


The  Highwayman  19I 

Down  the  ribbon  of  moonlight,  over  the  brow  of  the  hill, 
The  highwayman  came  riding, 

Riding,  riding! 
The  red-coats  looked   to  their  priming!     She  stood  up, 
straight  and  still! 

VII 

13  T/oW/o/,  in  the  frosty  silence!    T/oZ-Z/o^,  in  the  echoing  night! 
Nearer  he  came  and  nearer!    Her  face  was  like  a  light! 

Her  eyes  grew  wide  for  a  moment;  she  drew  one  last  deep 

breath, 
Then  her  finger  moved  in  the  moonlight. 

Her  musket  shattered  the  moonlight, 
Shattered  her  breast  in  the  moonlight  and  warned  him — 

with  her  death. 

\TII 

14  He  turned;  he  spurred  to  the  West;  he  did  not  know  who  stood 
Bowed,  with  her  head  o'er  the  musket,  drenched  with  her 

own  red  blood! 
Not  till  the  dawn  he  heard  it,  his  face  grew  grey  to  hear 
How  Bess,  the  landlord's  daughter, 

The  landlord's  black-eyed  daughter, 
Had  watched  for  her  love  in  the  moonlight,  and  died  in  the 
darkness  there. 

IX 

15  Back,  he  spurred  like  a  madman,  shrieking  a  curse  to  the  sky, 
With  the  white  road  smoking  behind  him  and  his  rapier 

brandished  high! 
Blood-red  were  his  spurs  i'  the  golden  noon;  wine-red  was 

his  velvet  coat, 
When  they  shot  him  down  on  the  highway, 

Down  like  a  dog  on  the  highway, 
And  he  lay  in  his  blood  on  the  highway,  with  a  bunch  of  lace 

at  his  throat. 


192  New  Ballads 

X 

i6  And  still  of  a  winte/s  night,  they  say,  when  the  wind  is  in  the 
trees, 
When  the  jnoon  is  a  ghostly  galleon  tossed  upon  cloudy  seas, 
When  the  road  is  a  ribbon  of  moonlight  over  the  purple  moor, 
A  highwayman  comes  riding — 

Riding — riding — 
A  highwayman  comes  riding,  up  to  the  old  inn-door. 

XI 

17  Over  the  cobbles  he  clatters  and  clangs  in  the  dark  inn-yard; 
He  taps  with  his  whip  on  the  shutters,  but  all  is  locked  atid 

barred; 
He  whistles  a  tune  to  the  window,  a^ui  who  should  be  waiting 

there 
But  the  landlord's  black-eyed  daughter, 

Bess,  the  landlord's  daughter. 
Plaiting  a  dark  red  love-knot  into  her  long  black  hair. 

Alfred  Noyes. 

AN  OLD  SONG  RE-SUNG  1 

1  I  SAW  a  ship  a-sailing,  a-sailing,  a-sailing. 

With  emeralds  and  rubies  and  sapphires  in  her  hold; 
And  a  bosun  in  a  blue  coat  bawling  at  the  railing 
Piping  through  a  silver  call  that  had  a  chain  of  gold; 
The  summer  wind  was  failing  and  the  tall  ship  rolled. 

2  I  saw  a  ship  a-steering,  a-steering,  a-steering, 
With  roses  in  red  thread  worked  upon  her  sails; 

With  sacks  of  purple  amethysts,  the  spoils  of  buccaneering, 
Skins  of  musky  yellow  wine,  and  silks  in  bales, 
Her  merry  men  were  cheering,  hauling  on  the  brails. 

*From  The  Story  of  a  Round-House,  copyright,  igis,  by  The  Macmillaa 
Co.    Reprinted  by  permission. 


Drake's  Drum  193 

I  saw  a  ship  a-slnking,  a-sinking,  a-sinking, 
With  glittering  sea-water  splashing  on  her  decks, 
With  seamen  in  her  spirit-room  singing  songs  and  drinking, 
Pulling  claret  bottles  down,  and  knocking  off  the  necks, 
The  broken  glass  was  chinking  as  she  sank    among  the 
wrecks. 

John  Masefield. 


DRAKE'S  DRUM  ^ 

1  Drake  he's  in  his  hammock  an'  a  thousand  mile  away, 

(Capten,  art  tha  sleepin'  there  below?). 
Slung  atween  the  round  shot  in  Nombre  Dios  Bay, 

An'  dreamin'  arl  the  time  o'  Plymouth  Hoe. 
Yarnder  lumes  the  island,  yarnder  Ue  the  ships, 

Wi'  sailor  lads  a-dancin'  heel-an'-toe. 
An'  the  shore-lights  flashin',  an'  the  night- tide  dashin', 

He  sees  et  arl  so  plainly  as  he  saw  et  long  ago. 

2  Drake  he  was  a  Devon  man,  an'  ruled  the  Devon  seas, 

(Capten,  art  tha  sleepin'  there  below?), 
Rovin'  tho'  his  death  fell,  he  went  wi'  heart  at  ease, 

An'  dreamin'  arl  the  time  o'  Plymouth  Hoe. 
"Take  my  drum  to  England,  hang  et  by  the  shore, 

Strike  et  when  your  powder's  runnin'  low; 
If  the  Dons  sight  Devon,  I'll  quit  the  port  o'  Heaven, 

An'  drum  them  up  the  Channel  as  we  drummed  them  long 
ago." 

3  Drake  he's  in  his  hammock  till  the  great  Armadas  come, 

(Capten,  art  tha  sleepin'  there  below?). 
Slung  atween  the  round  shot,  listenin'  for  the  drum. 
An'  dreamin'  arl  the  time  o'  Plymouth  Hoe. 

iprom  Admirals  All,  copyright,   1897,  by  John   Lan^.     Reprinted  by 
permissiorj. 


194  New  Ballads 

Call  him  on  the  deep  sea,  call  him  up  the  Sound, 

Call  him  when  ye  sail  to  meet  the  foe; 
Where  the  old  trade's  plyin'  and  the  old  flag  flyin', 

They  shall  find  him  ware  an'  wakin',  as  they  found  him 
long  ago. 

Henry  Newbolt. 

IVRY 

1  Now  glory  to  the  Lord  of  Hosts,  from  whom  all  glories  are! 
And  glory  to  our  Sovereign  Liege,  King  Henry  of  Navarre! 
Now  let  there  be  the  merry  sound  of  music  and  of  dance, 
Through  thy  corn-fields  green,  and  sunny  vines,  oh  pleasant 

land  of  France! 
And  thou,  Rochelle,  our  own  Rochelle,  proud  city  of  the 

waters. 
Again  let  rapture  light  the  eyes  of  all  thy  mourning  daughters. 
As  thou  wert  constant  in  our  ills,  be  joyous  in  our  joy, 
For  cold,  and  stiff,  and  still  are  they  who  wrought  thy  walls 

annoy. 
Hurrah!  Hurrah!  a  single  field  hath  turned  the  chance  of  war, 
Hurrah!  Hurrah!  for  Ivry,  and  Henry  of  Navarre. 

2  Oh!  how  our  hearts  were  beating,  when,  at  the  dawn  of  day, 
We  saw  the  army  of  the  League  drawn  out  in  long  array; 
With  all  its  priest-led  citizens,  and  all  its  rebel  peers. 

And  Appenzel's  stout  infantry,  and  Egmont's  Flemish  spears. 
There  rode  the  brood  of  false  Lorraine,  the  curses  of  our  land; 
And  dark  Mayenne  was  in  the  midst,  a  truncheon  in  his  hand: 
And,  as  we  looked  on  them,  we  thought  of  Seine's  empurpled 

flood. 
And  good  Coligni's  hoary  hair  all  dabbled  with  his  blood; 
And  we  cried  unto  the  living  God,  who  rules  the  fate  of  war. 
To  fight  for  His  own  holy  name,  and  Henry  of  Navarre. 

3  The  King  is  come  to  marshal  us,  in  all  his  armor  drest. 

And  he  has  bound  a  snow-white  plume  upon  his  gallant  crest. 


Ivry  195 

He  looked  upon  his  people,  and  a  tear  was  in  his  eye; 

He  looked  upon  the  traitors,  and  his  glance  was  stern  and 

high. 
Right  graciously  he  smiled  on  us,  as  rolled  from  wing  to 

wing, 
Down  all  our  Hne,  a  deafening  shout,  "God  save  our  Lord  the 

King!" 
"And  if  my  standard-bearer  fall,  as  fall  full  well  he  may, 
For  never  saw  I  promise  yet  of  such  a  bloody  fray. 
Press  where  ye  see  my  white  plume  shine,  amidst  the  ranks 

of  war. 
And  be  your  oriflamme  to-day  the  helmet  of  Navarre." 

«  Hurrah!  the  foes  are  moving.    Hark  to  the  mingled  din 
Of  fife,  and  steed,  and  trump,  and  drum,  and  roaring  culverin. 
The  fiery  Duke  is  pricking  fast  across  Saint  Andre's  plain,  j 
With  all  the  hireling  chivalry  of  Guelders  and  Almayne. 
Now  by  the  lips  of  those  ye  love,  fair  gentlemen  of  France, 
Charge  for  the  golden  lilies,— upon  them  with  the  lance. 
A  thousand  spurs  are  striking  deep,  a  thousand  spears  in 

rest, 
A  thousand  knights  are  pressing  close  behind  the  snow-white 

crest; 
And  in  they  burst,  and  on  they  rushed,  while,  like  a  guiding 

star. 
Amidst  the  thickest  carnage  blazed  the  helmet  of  Navarre. 

5  Now,  God  be  praised,  the  day  is  ours.    Mayenne  hath  turned 

his  rein. 
D'Aumale  hath  cried  for  quarter.    The  Flemish  count  is  slain. 
Their  ranks  are  breaking  like  thin  clouds  before  a  Biscay 

gale; 
The  field  is  heaped  with  bleeding  steeds,  and  flags,  and  cloven 

mail. 
And  then  we  thought  on  vengeance,  and,  all  along  our  van, 
"Remember  St.  Bartholomew,"  was  passed  from  man  to  man, 


igt)  New  Ballads 

v.. 

But  out  spake  gentle  Henry,  "No  Frenchman  is  my  foe: 
Down,  down  with  every  foreigner,  but  let  your  brethren  go."  , 
Oh!  was  there  ever  such  a  knight,  in  friendship  or  in  war, 
As  our  Sovereign  Lord,  King  Henry,  the  soldier  of  Navarre? 

6  Right  well  fought  all  the  Frenchmen  who  fought  for  France 

to-day; 
And  many  a  lordly  banner  God  gave  them  for  a  prey. 
But  we  of  the  religion  have  borne  us  best  in  fight; 
And  the  good  Lord  of  Rosny  has  ta'en  the  cornet  white. 
Our  own  true  Maximilian  the  cornet  white  hath  ta'en, 
The  cornet  white  with  crosses  black,  the  flag  of  false  Lorraine. 
Up  with  it  high;  unfurl  it  wide;  that  all  the  hosts  may  know 
How  God  hath  humbled  the  proud  house  which  wrought  His 

church  such  woe. 
Then  on  the  ground,  while  trumpets  sound  their  loudest 

point  of  war. 
Fling  the  red  shreds,  a  footcloth  meet  for  Henry  of  Navarre. 

7  Ho!  maidens  of  Vienna;  ho!  matrons  of  Lucerne; 

Weep,  weep,  and  rend  your  hair  for  those  who  never  shall 

return. 
Ho!  Philip,  send,  for  charity,  thy  Mexican  pistoles, 
That  Antwerp  monks  may  sing  a  mass  for  thy  poor  spearmen's 

souls. 
Ho!  gallant  nobles  of   the  League,  look   that  your  arms 

be  bright; 
Ho!  burghers  of  Saint  Genevieve,  keep  watch  and  ward 

to-night. 
For  our  God  hath  crushed  the  tyrant,  our  God  hath  raised  the 

slave. 
And  mocked  the  counsel  of  the  wise,  and  the  valor  of  the 

brave. 
Then  glory  to  His  holy  name,  from  whom  all  glories  are; 
And  glory  to  our  Sovereign  Lord,  King  Henry  of  Navarre. 
Thomas  Babington,  Lord  Macaulay, 


The  Landing  of  the  Pilgrim  Fathers       197 


THE  LANDING  OF  THE  PILGRIM  FATHERS  IN  NEW 
ENGLAND 

"  Look  now  abroad — another  race  has  filled 
Those  populous  borders — wide  the  wood  recedes. 

And  towns  shoot  up,  and  fertile  realms  are  tilled; 
The  land  is  full  of  harvests  and  green  meads." 

William  Cullen  Bryant. 

1  The  breaking  waves  dashed  high 

On  a  stern  and  rock-bound  coast, 
And  the  woods  against  a  stormy  sky 
Their  giant  branches  tossed; 

2  And  the  heavy  night  hung  dark, 

The  hills  and  waters  o'er, 
When  a  band  of  exiles  moored  their  bark 
On  the  wild  New  England  shore. 

3  Not  as  the  conqueror  comes, 

They,  the  true-hearted,  came; 
Not  with  the  roll  of  the  stirring  drums. 
And  the  trumpet  that  sings  of  fame ; 

4  Not  as  the  flying  come. 

In  silence  and  in  fear; 
They  shook  the  depths  of  the  desert  gloom 
With  their  hymns  of  lofty  cheer. 

5  Amidst  the  storm  they  sang, 

And  the  stars  heard,  and  the  sea; 
And  the  sounding  aisles  of  the  dim  woods  rang 
To  the  anthem  of  the  free. 

6  The  ocean  eagle  soared 

From  his  nest  by  the  white  wave's  foam; 
And  the  rocking  pines  of  the  forest  roared — 
This  was  their  welcome  home. 


198  New  Ballads 

7  There  were  men  with  hoary  hair 

Amidst  that  pilgrim  band: 
Why  had  they  come  to  wither  there, 
Away  from  their  childhood's  land? 

8  There  was  woman's  fearless  eye, 

Lit  by  her  deep  love's  truth; 
There  was  manhood's  brow,  serenely  high, 
And  the  fiery  heart  of  youth. 

9  WTiat  sought  they  thus  afar? 

Bright  jewels  of  the  mine? 
The  wealth  of  seas,  the  spoils  of  war? 
They  sought  a  faith's  pure  shrine! 

10  Ay,  call  it  holy  ground, 

The  soil  where  first  they  trod; 
They  have  left  unstained  what  there  they  found — 
Freedom  to  worship  God. 

Felicia  Hemans. 


SONG  OF  THE  CORNISH  MEN 

1  A  GOOD  sword  and  a  trusty  hand! 

A  merry  heart  and  true! 
King  James's  men  shall  understand 
What  Cornish  lads  can  do. 

2  And  have  they  fixed  the  where  and  when? 

And  shall  Trelawny  die? 
Here's  twenty  thousand  Cornish  men 
Will  know  the  reason  why! 

3  Outspake  their  captain,  brave  and  bold, 

A  merry  wight  was  he: 
"If  London  Tower  were  Michael's  hold, 
We'll  set  Trelawny  free! 


The  Battle  of  the  Boyne  199 

4  "We'll  cross  the  Tamar  land  to  land, 

The  Severn  is  no  stay — 
With  one  and  all,  and  hand-in-hand, 
And  who  shall  bid  us  nay? 

5  "And  when  we  come  to  London  wall, — 

A  pleasant  sight  to  view, — 
Come  forth!  come  forth,  ye  cowards  all, 
To  better  men  than  you! 

6  "Trelawny  he's  in  keep  and  hold, 

Trelawny  he  may  die; 
But  here's  twenty  thousand  Cornish  bold 
Will  know  the  reason  why!" 

Robert  Stephen  Hawker. 


TEE  BATTLE  OF  THE  BOYNE 

July  the  first  of  a  morning  fair 

In  seventeen  ninety  famous, 
King  William  did  his  men  prepare 

To  fight  with  false  King  Shamus. 
King  James  he  pitched  his  tents  between 

The  lines  for  to  retire; 
But  King  William  threw  his  bomb-balls  in 

And  set  them  all  on  fire. 

Thereat  revenge  the  Irish  vowed 

Upon  King  William's  forces, 
And  vehemently  with  cries  did  crowd 

To  check  their  forward  courses. 
A  ball  from  out  their  batteries  flew 

As  our  King  he  faced  their  fire; 
His  shoulder-knot  away  it  shot. 

Quoth  he,  "Pray  come  no  nigher!'\ 


200  New  Ballads 

3  Then  straight  his  officers  he  did  call, 

Saying,  "  Gentlemen,  mind  your  station, 
And  prove  your  valor  one  and  all 

Before  this  Irish  nation. 
My  brazen  walls  let  no  man  break, 

And  your  subtle  foes  you'll  scatter; 
Let  us  show  them  to-day  good  English  play, 

As  we  go  over  the  water." 

4  Then  horse  and  foot  we  marched  amain. 

Resolved  their  ranks  to  batter; 
But  the  brave  Duke  Schomberg  he  was  slain, 

As  we  went  over  the  water. 
Then  King  William  cried,  "Feel  no  dismay 

At  the  losing  of  one  commander, 
For  God  shall  be  our  king  to-day, 

And  I'll  be  general  under." 

5  Then  stoutly  we  Boyne  river  crossed 

To  give  the  Irish  battle; 
Our  cannon  to  his  dreadful  cost 

Like  thunder-claps  did  rattle. 
In  majestic  mien  our  Prince  rode  o'er, 

The  stream  ran  red  with  slaughter 
As  with  blow  and  shout  we  put  to  rout 

Our  enemies  over  the  water. 

Anon.    Adapted  by  A.  P.  Graves. 

AFTER  AUGHRIM 


I  Do  you  remember  long  ago, 

Kathaleen? 
When  your  lover  whispered  low, 
"  Shall  I  stay  or  shall  I  go, 

Kathaleen?" 


Battle  of  the  Baltic  '201 

And  you  answered  proudly,  "Go! 
And  join  King  James  and  strike  a  blow  .' 
For  the  Green." 

2  Mavrone,  your  hair  is  white  as  snow, 

Kathaleen ; 
Your  heart  is  sad  and  full  of  woe, 
Do  you  repent  you  bade  him  go, 

Kathaleen? 
But  quick  you  answer  proudly,  "No! 
For  better  die  with  Sarsfield  so, 
Than  live  a  slave  without  a  blow 

For  the  Green." 

Arthur  Gerald  Geoghegan. 

BATTLE  OF  THE  BALTIC 

1  Or  Nelson  and  the  North, 
Sing  the  glorious  day's  renown, 
When  to  battle  fierce  came  forth 
All  the  might  of  Denmark's  crown, 

And  her  arms  along  the  deep  proudly  shone; 
By  each  gun  the  lighted  brand. 
In  a  bold  determined  hand, 
And  the  Prince  of  all  the  land 
Led  them  on. — 

2  Like  leviathans  afloat, 

Lay  their  bulwarks  on  the  brine; 
While  the  sign  of  battle  flew 
On  the  lofty  British  Hne: 
It  was  ten  of  April  morn  by  the  chime: 
As  they  drifted  on  their  path, 
There  was  silence  deep  as  death; 
And  the  boldest  held  his  breath, 
For  a  time. — 


202  New  Ballads 

3  But  the  might  of  England  flush'd 
To  anticipate  the  scene; 

And  her  van  the  fleeter  rush'd 

O'er  the  deadly  space  between. 

"Hearts  of  oak!"  our  captains  cried;  when  each  gun 

From  its  adamantine  lips 

Spread  a  death-shade  round  the  ships, 

Like  the  hurricane  eclipse 

Of  the  sun. 

4  Again!  again!  again! 

And  the  havoc  did  not  slack, 

TUl  a  feeble  cheer  the  Dane 

To  our  cheering  sent  us  back; — 

Their  shots  along  the  deep  slowly  boom: — 

Then  ceased — and  all  is  wail, 

As  they  strike  the  shatter'd  sail; 

Or,  in  conflagration  pale, 

Light  the  gloom. — 

5  Out  spoke  the  victor  then, 

As  he  hail'd  them  o'er  the  wave: 
"Ye  are  brothers!  ye  are  men! 
And  we  conquer  but  to  save; — 
So  peace  instead  of  death  let  us  bring; 
But  yield,  proud  foe,  thy  fleet, 
With  the  crews,  at  England's  feet, 
And  make  submission  meet 
To  our  King." — 

6  Then  Denmark  bless'd  our  chief, 
That  he  gave  her  wounds  repose; 
And  the  sounds  of  joy  and  grief 
From  her  people  wildly  rose. 

As  death  withdrew  his  shades  from  the  day. 


Incident  of  the  French  Camp  203 

While  the  sun  look'd  smiling  bright 
O'er  a  wide  and  woeful  sight, 
Where  the  fires  of  funeral  light 
Died  away. 

7  Now  joy,  Old  England,  raise! 
For  the  tidings  of  thy  might, 
By  the  festal  cities'  blaze. 
Whilst  the  wine-cup  shines  in  light; 
And  yet  amidst  that  joy  and  uproar, 
Let  us  think  of  them  that  sleep, 
Full  many  a  fathom  deep, 

By  thy  wild  and  stormy  steep, 
Elsinore! 

8  Brave  hearts!  to  Britain's  pride 
Once  so  faithful  and  so  true. 

On  the  deck  of  fame  that  died; — 

With  the  gallant  good  Riou; 

Soft  sigh  the  winds  of  Heaven  o'er  their  grave! 

While  the  billow  mournful  rolls 

And  the  mermaid's  song  condoles, 

Singing  glory  to  the  souls 

Of  the  brave  !— 

Thomas  Campbell. 


INCIDENT  OF  THE  FRENCH  CAMP 

I  You  know,  we  French  stormed  Ratisbon: 

A  mile  or  so  away, 
On  a  Httle  mound.  Napoleon 

Stood  on  our  storming-day; 
With  neck  out-thrust,  you  fancy  how, 

Legs  wide,  arms  locked  behind, 
As  if  to  balance  the  prone  brow 

Oppressive  with  its  mind. 


204  New  Ballads 

2  Just  as  perhaps  he  mused  "My  plans 

That  soar,  to  earth  may  fall, 
Let  once  my  army -leader  Lannes 

Waver  at  yonder  wall," — 
Out  'twixt  the  battery-smokes  there  flew 

A  rider,  bound  on  bound 
Full-galloping;  nor  bridle  drew 

Until  he  reached  the  mound. 

3  Then  off  there  flung  in  smiling  joy, 

And  held  himself  erect 
By  just  his  horse's  mane,  a  boy: 

You  hardly  could  suspect — 
(So  tight  he  kept  his  lips  compressed, 

Scarce  any  blood  came  through) 
You  looked  twice  ere  you  saw  his  breast 

Was  all  but  shot  in  two. 

4  "Well,"  cried  he,  "Emperor,  by  God's  grace 

We've  got  you  Ratisbon! 
The  Marshal's  in  the  market-place. 

And  you'll  be  there  anon 
To  see  your  flag-bird  flap  his  vans 

Where  I,  to  heart's  desire. 
Perched  him!"    The  chief's  eye  flashed;  his  plans 

Soared  up  again  like  fire. 

5  The  chief's  eye  flashed ;  but  presently 

Softened  itself,  as  sheathes 
A  film  the  mother-eagle's  eye 

When  her  bruised  eaglet  breathes; 
"You're  wounded!"    "Nay,"  the  soldier's  pride 

Touched  to  the  quick,  he  said: 
"I'm  killed.  Sire!"    And  his  chief  beside 

Smiling  the  boy  fell  dead. 

Robert  Browning, 


The  Relief  of  Lucknow  205 

THE  RELIEF  OF  LUCKNOW 

1857 

1  Oh,  that  last  day  in  Lucknow  fort! 

We  knew  that  it  was  the  last ; 
That  the  enemy's  mines  crept  surely  in, 
And  the  end  was  coming  fast. 

2  To  yield  to  that  foe  meant  worse  than  death; 

And  the  men  and  we  all  worked  on ; 
It  was  one  day  more  of  smoke  and  roar, 
And  then  it  would  all  be  done. 

3  There  was  one  of  us,  a  corporal's  wife, 

A  fair,  young,  gentle  thing, 
Wasted  with  fever  in  the  siege. 
And  her  mind  was  wandering. 

4  She  lay  on  the  ground,  in  her  Scottish  plaid. 

And  I  took  her  head  on  my  knee; 
"When   my   father   comes   hame   frae    the   pleugh,"   she 
said, 
"Oh!  then  please  wauken  me." 

5  She  slept  like  a  child  on  her  father's  floor, 

In  the  flecking  of  wood-bine  shade, 
When  the  house-dog  sprawls  by  the  open  door, 
And  the  mother's  wheel  is  stayed. 

6  It  was  smoke  and  roar  and  powder-stench. 

And  hopeless  waiting  for  death; 
And  the  soldier's  wife,  like  a  fuU-tircd  child, 
Seemed  scarce  to  draw  her  breath. 


2o6  New  Ballads 

7  I  sank  to  sleep;  and  I  had  my  dream 

Of  an  English  village-lane, 
And  wall  and  garden;  but  one  wild  scream 
Brought  me  back  to  the  roar  again. 

8  There  Jessie  Brown  stood  listening 

Till  a  sudden  gladness  broke 
All  over  her  face;  and  she  caught  my  hand 
And  drew  me  near  and  spoke: 

g  "The  Hielanders!    Oh!  dinna  ye  hear 
The  slogan  far  awa? 
The  McGregor's?    Oh!  I  ken  it  wcel; 
It's  the  grandest  o'  them  a'! 

10  "God  bless  thae  bonny  Hielanders! 

We're  saved!  we're  saved!"  she  cried; 
And  fell  on  her  knees;  and  thanks  to  God 
Flowed  forth  like  a  full  flood-tide. 

11  Along  the  battery  line  her  cry 

Had  fallen  among  the  men, 
And  they  started  back; — they  were  there  to  die; 
But  was  life  so  near  them,  then? 

12  They  listened  for  Kfe;  the  rattling  fire 

Far  ofif,  and  the  far-off  roar. 
Were  all;  and  the  colonel  shook  his  head, 
And  they  turned  to  their  guns  once  more. 

13  Then  Jessie  said,  "That  slogan's  done; 

But  can  ye  hear  them  noo. 
The  Campbells  are  coniin''?    It's  no  a  dream; 
Our  succors  hae  broken  through." 

14  We  heard  the  roar  and  the  rattle  afar, 

But  the  pipes  we  could  not  hear; 
So  the  men  plied  their  work  of  hopeless  war, 
And  knew  that  the  end  was  near. 


Barbara  Frietchie  207 

15  It  was  not  long  ere  it  made  its  way, 

A  thrilling,  ceaseless  sound: 
It  was  no  noise  from  the  strife  afar, 
Or  the  sappers  under  ground. 

16  It  was  the  pipes  of  the  Highlanders! 

And  now  they  played  Auld  Lang  Syne. 
It  came  to  our  men  like  the  voice  of  God, 
And  they  shouted  along  the  line. 

17  And  they  wept,  and  shook  one  another's  hands, 

And  the  women  sobbed  in  a  crowd; 
And  every  one  knelt  down  where  he  stood, 
And  we  all  thanked  God  aloud. 

18  That  happy  day,  when  we  welcomed  them. 

Our  men  put  Jessie  first; 
And  the  general  gave  her  his  hand,  and  cheers 
Like  a  storm  from  the  soldiers  burst. 

ig  And  the  pipers'  ribbons  and  tartan  streamed. 
Marching  round  and  round  our  line; 
And  our  joyful  cheers  were  broken  with  tears. 
As  the  pipes  played  Auld  Lang  Syne. 

Robert  Traill  Spence  Lowell, 


BARBAILi  FRIETCHIE 
1862 

1  Up  from  the  meadows  rich  with  corn, 
Clear  in  the  cool  September  morn, 

2  The  clustered  spires  of  Frederick  stand 
Green-walled  by  the  hills  of  Maryland. 

3  Round  about  them  orchards  sweep, 
Apple  and  peach  tree  fruited  deep, 


'2o8  New  Ballads 

4  Fair  as  the  garden  of  the  Lord 

To  the  eyes  of  the  famished  rebel  horde, 

5  On  that  pleasant  morn  of  the  early  fall 
When  Lee  marched  over  the  mountain-wall, 

6  Over  the  mountains  winding  down, 
Horse  and  foot,  into  Frederick  town. 

7  Forty  flags  with  their  silver  stars, 
Forty  flags  with  their  crimson  bars, 

8  Flapped  in  the  morning  wind :  the  sun 
Of  noon  looked  down,  and  saw  not  one. 

9  Up  rose  old  Barbara  Frietchie  then, 
Bowed  with  her  fourscore  years  and  ten; 

10  Bravest  of  all  in  Frederick  town. 

She  took  up  the  flag  the  men  hauled  down; 

11  In  her  attic  window  the  staflf  she  set, 
To  show  that  one  heart  was  loyal  yet. 

12  Up  the  street  came  the  rebel  tread, 
Stonewall  Jackson  riding  ahead. 

13  Under  his  slouched  hat  left  and  right 
He  glanced:  the  old  flag  met  his  sight. 

14  "Halt!" — the  dust-brown  ranks  stood  fast. 
"Fire!"— out  blazed  the  rifle-blast. 

15  It  shivered  the  window,  pane  and  sash; 
It  rent  the  banner  with  seam  and  gash. 


Barbara  Frietchle  209 

16  Quick,  as  it  fell,  from  the  broken  staff 
Dame  Barbara  snatched  the  silken  scarf. 

17  She  leaned  far  out  on  the  window-sill, 
And  shook  it  forth  with  a  royal  will. 

18  "Shoot,  if  you  must,  this  old  gray  head, 
But  spare  your  country's  flag,"  she  said. 

ig  A  shade  of  sadness,  a  blush  of  shame, 
Over  the  face  of  the  leader  came; 

20  The  nobler  nature  within  him  stirred 
To  life  at  that  woman's  deed  and  word: 

21  "Who  touches  a  hair  of  yon  gray  head 
Dies  like  a  dog!    March  on!"  he  said. 

22  All  day  long  through  Frederick  street 
Sounded  the  tread  of  marching  feet; 

23  All  day  long  that  free  flag  tost 
Over  the  heads  of  the  rebel  host. 

24  Ever  its  torn  folds  rose  and  fell 

On  the  loyal  winds  that  loved  it  well; 

25  And  through  the  hill-gaps  sunset  light 
Shone  over  it  with  a  warm  good-night. 

26  Barbara  Frietchie's  work  is  o'er, 

And  the  Rebel  rides  on  his  raids  no  more. 

27  Honor  to  her!  and  let  a  tear 

Fall,  for  her  sake,  on  Stonewall's  bier. 


2IO  New  Ballads 

28  Over  Barbara  Frietchie's  grave, 
Flag  of  Freedom  and  Union,  wave 


29  Peace  and  order  and  beauty  draw 
Round  thy  symbol  of  light  and  law; 

30  And  ever  the  stars  above  look  down 
On  thy  stars  below  in  Frederick  town! 

John  Greenleaf  Whittier. 

0  CAPTAIN!  MY  CAPTAIN! 

O  Captain!  my  Captain!  our  fearful  trip  is  done. 
The  ship  has  weather'd  every  rack,  the  prize  we  sought  is  won, 
The  port  is  near,  the  bells  I  hear,  the  people  all  exulting, 
While  follow  eyes  the  steady  keel,  the  vessel  grim  and  daring; 
But  O  heart!  heart!  heart! 
O  the  bleeding  drops  of  red. 

Where  on  the  deck  my  Captain  lies. 
Fallen  cold  and  dead. 

O  Captain!  my  Captain!  rise  up  and  hear  the  bells; 

Rise  up — for  you  the  flag  is  flung — for  you  the  bugle  trills. 

For  you  bouquets  and  ribbon'd  wreaths — for  you  the  shores 

a-crowding. 
For  you  they  call,  the  swaying  mass,  their  eager  faces  turning; 
Here  Captain!  dear  father! 
This  arm  beneath  your  head ! 

It  is  some  dream  that  on  the  deck, 
You've  fallen  cold  and  dead. 

My  Captain  does  not  answer,  his  lips  are  pale  and  still. 
My  father  does  not  feel  my  arm,  he  has  no  pulse  nor  will. 
The  ship  is  anchor'd  safe  and  sound,  its  voyage  closed  and 

done. 
From  fearful  trip  the  victor  ship  comes  in  with  object  won; 


Ballad  of  East  and  West  21 1 

Exult,  O  shores,  and  ring,  0  bells! 
But  I  with  mournful  tread, 

Walk  the  deck  my  Captain  lies, 
Fallen  cold  and  dead. 

Walt  Whitman. 


BALLAD  OF  EAST  AND  WEST  1 

Oh,  East  is  East,  and  West  is  West,  and  never  the  twain  shaH 

meet, 
Till  Earth  and  Sky  stand  presently  at  God's  great  Judgment 

Seat; 
But  there  is  neither  East  nor  West,  Border,  nor  Breed,  nor  Birth, 
When  two  strong  men  stand  Jace  to  face,  tho'  they  come  from  the 

ends  of  the  earth! 

Kamal  is  out  with  twenty  men  to  raise  the  Borderside, 
And  he  has  lifted  the  Colonel's  mare  that  is  the  Colonel's 

pride: 
He  has  lifted  her  out  of  the  stable-door  between  the  dawn 

and  the  day, 
And  turned  the  calkins  upon  her  feet,  and  ridden  her  far 

away. 
S  Then  up  and  spoke  the  Colonel's  son  that  led  a  troop  of  the 

Guides: 
"Is  there  never  a  man  of  all  my  men  can  say  where  Kamal 

hides?" 
Then  up  and  spoke  Mohammed  Khan,  the  son  of  the  Res- 

saldar: 
"If  ye  know  the  track  of  the  morning-mist,  ye  know  where 

his  pickets  are. 
At  dusk  he  harries  the  Abazai — at  dawn  he  is  into  Bonair, 
10  But  he  must  go  by  Fort  Bukloh  to  his  own  place  to  fare, 

'  From  Collected  Verse,  copyright,  1907,  by  Rudyard  Kipling.    Reprinted 
by  permission. 


Ayz  New  Ballads 

So  if  ye  gallop  to  Fort  Bukloh  as  fast  as  a  bird  can  fly, 

By  the  favor  of  God  ye  may  cut  him  ofif  ere  he  win  to  the 

Tongue  of  Jagai. 
But  if  he  be  past  the  Tongue  of  Jagai,  right  swiftly  turn  ye 

then, 
For  the  length  and  the  breadth  of  that  grisly  plain  is  sown 

with  Kamal's  men. 
15  There  is  rock  to  the  left,  and  rock  to  the  right,  and  low  lean 

thorn  between. 
And  ye  may  hear  a  breech-bolt  snick  where  never  a  man  is 

seen." 
The  Colonel's  son  has  taken  a  horse,  and  a  raw  rough  dun 

was  he, 
With  the  mouth  of  a  beU  and  the  heart  of  Hell  and  the  head 

of  the  gallows-tree. 
The  Colonel's  son  to  the  Fort  has  won,  they  bid  him  stay  to 

eat — 
20  Who  rides  at  the  tail  of  a  Border  thief,  he  sits  not  long  at  his 

meat. 
He  's  up  and  away  from  Fort  Bukloh  as  fast  as  he  can  fly, 
Till  he  was  aware  of  his  father's  mare  in  the  gut  of  the  Tongue 

of  Jagai, 
TiU  he  was  aware  of  his  father's  mare  with  Kamal  upon  her 

back. 
And  when  he  could  spy  the  white  of  her  eye,  he  made  the 

pistol  crack. 
25  He  has  fired  once,  he  has  fired  twice,  but  the  whistling  ball 

went  wide. 
"Ye  shoot  like  a  soldier,"  Kamal  said.    "Show  now  if  ye  can 

ride." 
It 's  up  and  over  the  Tongue  of  Jagai,  as  blown  dust-devils  go, 
The  dun  he  fled  like  a  stag  of  ten,  but  the  mare  like  a  barren 

doe. 
The  dun  he  leaned  against  the  bit  and  slugged  his  head  above, 
30  But  the  red  mare  played  with  the  snaffle-bars,  as  a  maiden 

plays  with  a  glove. 


Ballad  of  East  and  West  213 

There  was  rock  to  the  left,  and  rock  to  the  right,  and  low  lean 

thorn  between, 
And  thrice  he  heard  a  breech-bolt  snick  tho'  never  a  man 

was  seen. 
They  have  ridden  the  low  moon  out  of  the  sky,  their  hoofs 

drum  up  the  dawn, 
The  dun  he  went  like  a  wounded  bull,  but  the  mare  like  a 

new-roused  fawn. 
35  The  dun  he  fell  at  a  water-course — in  a  woeful  heap  fell  he, 
And  Kamal  has  turned  the  red  mare  back,  and  pulled  the 

rider  free. 
He  has  knocked  the  pistol  out  of  his  hand — small  room  was 

there  to  strive, 
'"T  was  only  by  favor  of  mine,"  quoth  he,  "ye  rode  so  long 

alive: 
There  was  not  a  rock  for  twenty  mile,  there  was  not  a  clump 

of  tree, 
40  But  covered  a  man  of  my  own  men  with  his  rifle  cocked  on 

his  knee. 
If  I  had  raised  my  bridle-hand,  as  I  have  held  it  low. 
The  httle  jackals  that  flee  so  fast  were  feasting  all  in  a  row: 
If  I  had  bowed  my  head  on  my  breast,  as  I  have  held  it  high, 
The  kite  that  whistles  above  us  now  were  gorged  till  she 

could  not  fly." 
45  Lightly  answered  the  Colonel's  son:  "Do  good  to  bird  and 
*  beast. 

But  count  who  come  for  the  broken  meats  before  thou  makest 

a  feast. 
If  there  should  follow  a  thousand  swords  to  carry  my  bones 

away, 
Belike  the  price  of  a  jackal's  meal  were  more  than  a  thief 

could  pay. 
They  wiU  feed  their  horse  on  the  standing  crop,  their  men 

on  the  garnered  grain, 
50  The  thatch  of  the  byres  will  serve  their  fires  when  all  the 

cattle  arc  slain. 


214  New  Ballads 

But  if  thou  thinkest  the  price  be  fair, — thy  brethren  wait  to 

sup, 
The  hound  is  kin  to  the  jackal-spawn, — howl,  dog,  and  call 

them  up! 
And  if  thou  thinkest  the  price  be  high,  in  steer  and  gear  and 

stack, 
Give  me  my  father's  mare  again,  and  I'll  fight  my  own  way 

back!" 
55  Kamal  has  gripped  him  by  the  hand  and  set  him  upon  his 

feet. 
"No  talk  shall  be  of  dogs,"  said  he,  "when  wolf  and  grey 

wolf  meet. 
May  I  eat  dirt  if  thou  hast  hurt  of  me  in  deed  or  breath ; 
What  dam  of  lances  brought  thee  forth  to  jest  at  the  dawn 

with  Death?" 
Lightly  answered  the  Colonel's  son:  "I  hold  by  the  blood  of 

my  clan: 
60  Take  up  the  mare  for  my  father's  gift — by  God,  she  has 

carried  a  man!" 
The  red  mare  ran  to  the  Colonel's  son,  and  nuzzled  against 

his  breast; 
"We  be  two  strong  men,"  said  Kamal  then,  "but  she  loveth 

the  younger  best. 
So  she  shall  go  with  a  lifter's  dower,  my  turquoise-studded 

rein. 
My  broidered  saddle  and  saddle-cloth,  and  silver  stirrups 

twain." 
6s  The  Colonel's  son  a  pistol  drew,  and  held  it  muzzle-end, 
"Ye  have  taken  the  one  from  a  foe,"  said  he;  "will  ye  take 

the  mate  from  a  friend?  " 
"A  gift  for  a  gift,"  said  Kamal  straight;  "a  limb  for  the 

risk  of  a  limb. 
Thy  father  has  sent  his  son  to  me,  I  '11  send  my  son  to 

him!" 
With  that  he  whistled  his  only  son,  that  dropped  from  a 

mountain-crest — 


Ballad  of  East  and  West  215 

70  He  trod  the  ling  like  a  buck  in  spring,  and  he  looked  like  a 

lance  in  rest. 
"Now  here  is  thy  master,"  Kamal  said,  "who  leads  a  troop 

of  the  Guides, 
And  thou  must  ride  at  his  left  side  as  shield  on  shoulder  rides. 
Till  Death  or  I  cut  loose  the  tie,  at  camp  and  board  and  bed, 
Thy  life  is  his — thy  fate  it  is  to  guard  him  with  thy  head. 
75  So,  thou  must  eat  the  White  Queen's  meat,  and  all  her  foes 

are  thine. 
And  thou  must  harry  thy  father's  hold  for  the  peace  of  the 

Border-line, 
And  thou  must  make  a  trooper  tough  and  hack  thy  way  to 

power — • 
Belike  they  will  raise  thee  to  Ressaldar  when  I  am  hanged  in 

Peshawur." 

They  have  looked  each  other  between  the  eyes,  and  there 

they  found  no  fault, 
80  They  have  taken   the  Oath  of  the  Brother-in-Blood  on 

leavened  bread  and  salt: 
They  have  taken  the  Oath  of  the  Brother-in-Blood  on  fire 

and  fresh-cut  sod. 
On  the  hilt  and  the  haft  of  the  Khyber  knife,  and  the  Won- 
drous Names  of  God. 
The  Colonel's  son  he  rides  the  mare  and  Kamal's  boy  the 

dun, 
And  two  have  come  back  to  Fort  Bukloh  where  there  went 

forth  but  one. 
85  And  when  they  drew  to  the  Quarter-Guard,  full  twenty 

swords  flew  clear — 
There  was  not  a  man  but  carried  his  feud  with  the  blood  of 

the  mountaineer. 
"Ha'  done!  ha'  done!"  said  the  Colonel's  son.    "Put  up  the 

steel  at  your  sides! 
Last  night  ye  had  struck  at  a  Border  thief — to-night  't  is  a 

man  of  the  Guides!" 


2i6  New  Ballads 

Oh,  East  is  East,  a}id  West  is  West,  and  never  the  twain  shall 

meet, 
Till  Earth  and  Sky  stand  presently  at  God^s  great  Judgment 

Seat; 
But  there  is  neither  East  nor  West,  Border,  nor  Breed,  nor 

Birth, 
When  two  strong  men  stand  face  to  face,  tho'  they  come  from 

the  ends  of  the  earth! 

RuDYARD  Kipling. 


NOTES   AND    COMMENT 

(Heavy  numerals  refer  to  stanzas,  light  ones  to  lines.) 

BABY  LON 

The  refrain  is  the  same  for  all  stanzas,  but  is  here  given  with  the 
first  stanza  only. 

1,  I.  Bower:  ladies'  chamber. 

2,  I.  In  several  ballads  the  puHing  of  a  flower  or  a  nut  offends  some 
evil  being  infesting  (or  haunting)  the  place,  who  immediately  appears 
to  seek  redress  or  vengeance.     See  note  on  Hind  Elin,  i,  3. 

4,  2.  Wee  pen-knife.  We  should  expect  sword  or  at  least  dagger. 
It  has  been  suggested  that  the  undue  prominence  of  wee  pen-knives 
in  ballads  shows  the  influence  of  female  tradition.    See  page  xxiii. 

6,  I.  May:  maiden,  girl. 

18,  2.     Twined  .  .  .  o':  separated  .  .  .  from. 

Study 

State  the  situation  in  one  or  two  sentences.  (Be  careful  to  leave 
out  unessentials.)  Are  three  sisters  necessary  for  the  story,  or  are 
three  introduced  because  that  is  a  favorite  ballad  number?  Some 
versions  have  three  brothers  as  well  as  three  sisters:  is  that  an  im- 
provement? Is  there  a  sufficient  reason  given  for  the  sisters  going 
into  the  woods?  Did  they  know  they  might  incur  danger?  Do  we 
know  all  we  ought  to  know  about  the  reasons  for  Baby  Lon's  banish- 
ment? Does  the  recognition  seem  reasonable?  Should  it  have  come 
earlier?  Are  we  satisfied  that  the  tragedy  could  not  have  been 
averted?  How  might  a  modern  story-teller  answer  or  forestall  these 
and  similar  questions?  What  would  he  add  (motive,  explanation, 
character  description)?  What  would  he  leave  out?  Try  to  sketch  a 
better  plot  based  upon  this  ballad. 

Point  out  the  incremental  repetition.  Is  it  merely  cumulative,  or 
is  there  climax  or  antithesis? 

217 


2i8  Notes  and  Comment  [Pp.  2- 

State  the  situation  of  The  Hangman's  Tree  (page  xiv).  Compare 
Baby  Lon  and  The  Hangman's  Tree  with  regard  to:  simple  situation, 
motive,  incremental  repetition,  leaping  and  lingering,  dialogue. 

What  seems  to  suggest  that  the  present  ballad  may  have  been 
sung  as  an  accompaniment  to  a  dance? 


THE  CRUEL  BROTHER 

The  bridegroom  has  asked  the  consent  of  all  the  relatives,  except 
the  brother;  the  brother  avenges  the  sUght  by  killing  the  bride.  The 
Scotch  poet  Aytoun,  writing  in  1838,  says  of  The  Cruel  Brother:  "This 
is,  perhaps,  the  most  popular  of  all  the  Scottish  ballads,  being  com- 
monly recited  and  sung  even  at  the  present  time." 

2-4.  The  three  colors  are  merely  a  bit  of  ballad  ornament.  Com- 
pare the  three  flowers  in  the  refrains  below.  Three  persons  clothed 
in  three  colors  are  common  in  ballads.  The  gentleman's  courting 
three  sisters  must  here  be  taken  accordingly.  What  the  ballad  is 
trying  to  impress  upon  us  is  that  he  was  particularly  attentive  to  one 
particular  lady.  If  he  actually  slighted  two  other  ladies,  "that  is 
another  story." 

II,  1.  Compare  the  note  on  the  fourth  stanza  of  Baby  Lon. 

15,  2.  The  last  part  of  this  line  has  been  forgotten.  Compare  the 
questions  in  Cospalrick,  Scott's  version  of  Gil  Brenlon: 

"O  is  your  saddle  set  awry? 

Or  rides  your  steed  for  you  o'er  high? 

"Or  are  you  mourning  in  your  tide 
That  you  suld  be  Cospatrick's  bride?" 

and  those  in  another  version  of  Gil  Brenlon: 

"0  is  there  water  in  your  shee? 
Or  does  the  win'  blow  in  your  glee? 

"Or  are  you  mourning  i'  your  meed 
That  e'er  you  left  your  mither  gueed? 

"Or  are  you  mourning  i'  your  tide 
That  ever  ye  was  Gil  Brenton's  bride?  " 

These  questions,  then,  are  commonplaces  and  may  find  their  way 
into  any  ballad  where  the  situation  admits.    The  last  question  in 


-4]  Notes  and  Comment  219 

any  such  series  is  usually  the  only  pertinent  one,  and  in  the  present 
case  is  more  so  in  the  Gil  Brenton  ballad  than  in  the  one  v/e  are  study- 
ing, for  Gil  Brenton  is  a  kind  of  Blue  Beard  who  has  already  executed 
seven  wives. 
25,  2.  Gallows  pin:  beam  or  cross-piece  of  gallows. 

27,  2.  Meal-pock:  pouch  or  bag  carried  by  beggars  as  a  receptacle 
for  meal  and  other  food  given  them.  The  curse  of  beggary  is  thus 
bequeathed  to  the  brother's  children.    See  note  on  Echvard,  6,  5. 

28.  This  weak  stanza  has  an  English  rime  instead  of  Scotch,  and 
reads  just  like  the  "fine  writing"  of  some  v/riter  of  broadsides.  See 
comment  on  the  last  stanza  of  Sweet  William's  Ghost. 


Study 

Plot.  State  the  situation  in  two  sentences.  (We  have  here  the 
so-called  "split  situation.")  How  is  each  part  developed?  Show  the 
leaping  and  lingering.  What  would  a  modern  story-teller  add?  What 
leave  out?  Would  he  make  any  use  of  the  "relative  cHmax"  or  the 
"ballad  testament?"  Can  you  think  of  any  device  he  might  use 
serving  somewhat  the  same  purpose  as  either  of  these?  Can  you 
suggest  any  way  to  make  the  story  seem  more  real  to  a  modern  reader? 
Compare  as  regards  simplicity  of  plot  and  use  of  ballad  devices,  with 
The  Hangman's  Tree  and  Bahy  Lon. 

Incremental  repetition.  With  the  exception  of  stanzas  i,  ir, 
14,  and  28,  every  stanza  is  part  of  an  incremental  series.  Stanzas  2-4 
focus  our  attention  on  the  bride.  5-6,  in  dialogue,  repeated  as  nar- 
rative in  7-8  (parallel  repetition),  dwell  on  the  knight's  affront  to 
the  brother.  The  next  group  leads  up  to  the  murder.  12-21  consist 
of  three  (or  four?)  groups,  all  progressing  to  the  catastrophe.  Com- 
ment on  22-27,  also  on  the  relation  of  20-21  to  18-19. 

Refrain.  Lines  2  and  4  of  stanza  i  as  here  printed  were  sung  as 
lines  2  and  4  of  each  succeeding  stanza.  Does  this  refrain  tell  any 
part  of  the  story?  What  does  it  do?  Can  it  be  omitted?  Why? 
Can  you  read  the  stanzas  better  with  or  without  the  refrain?  Would 
it  be  the  same  in  singing?  Is  the  refrain  more  appropriate  to  one 
stanza  than  to  another?  Compare  the  refrains,  below,  of  versions 
A,  C,  D,  E,  and  K;  note  that  the  refrain  of  E  adds  a  fifth  and  sixth 
Hne  to  the  stanza.  Which  do  you  think  is  the  best  one?  Do  you 
make  this  decision  on  musical  grounds  or  on  grounds  of  suggestivc- 
ness  and  the  story?    Or  do  you  rather  respond  to  the  appeal  of  color? 


220  Notes  and  Comment  [Pp.  4- 

With  a  heigh-ho  and  a  lily  gay  .  .  . 
As  the  primrose  spreads  so  sweetly. 

Hech  hey  an'  the  lily  gay  .  .  . 
An'  the  rose  is  aye  the  redder  aye. 

Farin-dan-dan  and  farin-dan-dee  .  .  . 
With  adieu,  sweet  honey,  wherever  you  be. 

Wi'  a  hech  hey  an'  a  lily  gay  .  .  . 

An'  the  primrose  springs  sae  sweetly. 
Sing  Annet,  an'  Marret,  an'  fair  Maisrie, 
An'  the  dew  hangs  i'  the  wood,  gay  ladie. 

GiUiver,  Gentle,  and  Rosemary  .  .  . 
Sing  O  the  red  rose  and  the  white  lily. 

Compare  with  K  the  refrain  of  one  of  the  Devil  and  Girl  ballads: 

Jennifer  Gentle  and  Rosemaree  .  .  . 
As  the  dew  flies  over  the  mulberry  tree. 

Could  they  be  interchanged,  even  though  the  ballads  are  so  different? 
(GiUiver  is  probably  gillyflower  or  pink,  Jennifer  probably  either  the 
same  or  juniper,  and  gentle  may  be  for  gentian.  Very  likely  the  lan- 
guage of  flowers — the  rose  signifies  passion,  the  lily  purity — plays 
into  these  refrains.) 

Note  the  Scotch  words:  gae,  sae;  ha',  a';  bluidy,  guid;  mither, 
brither,  anither;  straucht,  licht;  the  auxiliary  verbs  wad,  maun, 
dinna,  dought  na. 

THE  TWA  SISTERS 

One  of  the  most  popular  ballads  and  one  still  sung  in  Great  Britain. 
It  is  as  popular  in  Scandinavian  countries  as  in  the  British  Isles. 

Common  to  all  the  versions  is  the  harp  strung  with  three  locks  of 
the  drowned  sister's  hair,  or  some  variant  of  this  motif.  The  full 
import  of  this  is  lost,  as  Child  points  out,  in  the  English  versions. 
"All  the  Norse  ballads  make  the  harp  or  fiddle  to  be  taken  to  a  wed- 
ding, which  chances  to  be  that  of  the  elder  sister  with  the  drowned 
girl's  betrothed."  Then,  instead  of  three  tunes,  each  string  should 
have  its  say,  as  in  an  Icelandic  version  (Child's  translation); 

The  first  string  made  response: 
"The  bride  was  my  sister  once." 


-6]  Notes  and  Comment  221 

The  bride  on  the  bench,  she  spake: 
•'The  harp  much  trouble  doth  make." 

The  second  string  answered  the  other: 
"She  is  parting  me  and  my  lover." 

Answered  the  bride,  red  as  gore: 
"The  harp  is  vexing  us  sore." 

The  canny  third  string  replied: 
"I  owe  my  death  to  the  bride." 

He  made  all  the  harp-strings  clang:     ^ 
The  bride's  heart  burst  with  the  pang.  \ 

I,  7.  St.  Johnstone:  ancient  name  for  the  city  of  Perth. 

2-3.  Glove  an'  ring  as  against  brooch  an'  knife  is  a  mere  incre- 
mental variation,  like  the  colors  in  The  Cruel  Brother,  2-4.  All  four 
articles  are  frequently  mentioned  as  gifts.  For  knives,  compare  the 
lines  from  Chaucer's  description  of  the  Friar: 


His  tipet  was  ay  farsed  ful  of  knyves 
And  pinnes,  for  to  yeven  faire  wyves. 


The  wooing  of  two  sisters  has  here  a  plot  reason.  Explain.  How 
was  it  in  The  Cruel  Brother  and  Baby  Lon? 

2,  2.  Thing:  old  neuter  plural,  like  sheep,  swine,  deer. 

4,  2.  Scan  this  hne,  and  the  following,  from  Shakespeare's  Taming 
of  the  Shrew,  ii,  i,  18: 

Is  it  for  him  you  do  envy  me  so? 

Scan  also  this  line  from  Julius  Caesar,  v,  5,  70: 

Did  that  they  did  in  envy  of  great  Caesar. 

What  part  of  speech  is  envy  in  each  case? 

11,  2.  I's  make:  I  shall  make.    See  's  in  glossary. 

12,  2.  Girdle  was  also  pronounced  griddle.  Would  that  be  a  better 
reading  here?  Why?  For  the  metathesis  of  the  r,  compare  brast 
in  5,  2  and  our  burst. 

14,  2.  Wardle's  make:  world's  mate,  life-mate.  Point  out  the 
metathesis. 

16,  2.  Compare  7,  i.  The  confusion  here  may  be  due  to  two 
different  forms  of  the  story,  one  in  which  the  younger  sister  is  drowned 


222  Notes  and  Comment  [Pp.  6- 

in  the  sea  (and  her  body  recovered  by  fishermen)  and  one  in  which 
the  drowning  occurs  in  a  rnill-stream. 

i8,  I.  Draw  your  dam:  draw  off  or  drain  your  dam. 

20-22.  Ballads  and  folk  stories  are  lavish  of  gold  and  pearls  and 
purple  and  all  things  rich  and  rare. 

22,  2.  Gryte:  great. 

23,  2.  Dine:  dinner. 

25.  Another  version  may  htre  be  noted  as  an  example  of  incre- 
mental repetition  run  to  seed.  The  miller  makes  a  viol  of  the  girl's 
breastbone,  pegs  of  her  fingers,  a  bridge  of  her  nose-ridge,  and  strings 
of  her  veins.    And  then: 

What  did  he  do  with  her  eyes  so  bright? 
Upon  his  viol  he  played  at  first  sight. 

What  did  he  do  with  her  tongue  so  rough? 
Unto  the  viol  it  spake  enough. 

What  did  he  do  with  her  two  shins? 
Unto  the  viol  they  danced  Moll  Syms. 

It  is  worth  mentioning  that  this  is  in  a  broadside.  As  Touchstone 
says  in  As  You  Like  It,  "I'll  rhyme  you  so  eight  years  together, 
dinners  and  suppers  and  sleeping-hours  excepted:  it  is  the  right 
butter-woman's  rank  to  market." 

27,  I.  Nexten:  next;  formed  with  the  adjective  ending  of  wooden, 
golden;  or  the  en  may  be  for  an,  ane,  i.  e.,  one,  see  note  on  The  Laily 
Worm,  4,  4. 

Syne:  since,  after  that, 

28,  I.  Lasten:  last. 

Study 

Compare  with  the  ballads  previously  studied:  simplicity  of  plot, 
development  of  situation,  leaping  and  lingering,  absence  of  char- 
acterization, sufficiency  or  insufficiency  of  motive,  details  that  might 
be  supplied  or  omitted. 

Compare  also  the  use  made  of  incremental  repetition. 

Note  the  refrain  and  the  refrain-like  repetition  of  the  first  line  of 
each  stanza.  Each  stanza  thus  becomes  a  seven-line  stanza  when 
sung.  But  most  versions  have  metrically  the  same  structure  as  The 
Cruel  Brother,  four  lines,  the  second  and  fourth  constituting  the  re- 
frain. 


-8]  Notes  and  Comment  223 

You  could  not  see  her  yellow  hair, 

Binnorie,  O  Binnorie 
For  goud  and  pearls  that  were  sae  rare. 

By  the  bonny  mill-dams  of  Binnorie 

The  Bin'norie  (or,  in  version  M,  Binno'rie)  refrain,  Scott  tells  us, 
was  the  most  common  and  popular.  This  refrain  caught  the  ear  of 
Wordsworth;  see  his  The  Seven  Sisters;  or,  The  Solitude  of  Bitmorie, 
with  its  refrain  of: 

Sing,  mournfully,  oh!  mournfully, 

The  solitude  of  Binnorie. 

Why,  do  you  think,  was  Wordsworth  inspired  by  the  Binnorie  refrain? 
Might  he  have  been  thus  inspired  by  one  of  the  refrains  cited  under 
The  Cruel  Brother?  Compare  the  Binnorie  refrain  with  the  one  in 
the  seven-hne  stanza  and  with  the  refrain  of  Baby  Lon. 

Note  the  Scotch  words:  twa,  stane,  gae,  sae,  nae,  wae,  sair,  ever- 
mair;  a',  sma',  fa',  wi',  an',  stran',  Ian',  ta'cn;  goud;  bonny,  syne;  the 
auxiliaries  gar,  couldna,  I's,  ye's. 

EDWARD 

The  text  has  been  but  slightly  modernized  and  the  repetitions  and 
refrain  are  printed  out  in  full:  partly  because  the  ballad  is  so  well 
known  to  the  general  reader  in  such  a  form  and  such  completeness, 
and  partly  because  the  repetitions  and  refrain  are  particularly  im- 
pressive. Just  how  far  the  ballad  is  genuine  tradition  and  how  far  it 
was  revised  and  polished  by  Percy  or  one  of  his  correspondents,  no 
one  can  say.  The  artistic  effect  is  unusual,  but  the  means  employed 
are  wholly  those  of  the  ballad.  But  Henderson's  arguments  for 
hterary  origin  {Ballad  in  Literature,  p.  25),  from  the  artistic  effect 
and  the  correct  language,  cannot  simply  be  ignored. 

2,  I.  Hawkis:  -is  is  the  genitive  ending,  pronounced  as  a  separate 
syllable. 

2,  I.  Reid:  red.  The  old  long  vowel  is  retained  in  the  family  name 
Reid  (Scotch),  Reed,  Read,  Reade. 

2,  8.  Free:  ready,  eager. 

3,  I.  Gat:  got.  Have  got  for  have  has  been  in  more  or  less  good 
use  for  three  centuries  or  more. 

4,  I.  Whatten:  what,  what  a.  For  the  syllable  en,  see  note  on 
2'hc  Laily  Worm,  4,  4. 


224  Notes  and  Comment  [Pp.  8- 

4,  5.  Boat:  not  strictly  a  Scotch  word;  if  it  were  it  should  have  the 
vowel  sound  of  mair,  stane,  etc.     What  does  the  rime  indicate? 

5,  I.  Wull:  will.  Wull  is  still  heard  dialectally;  the  negative  of  it 
is  won't,  pronounced  wunt  in  New  England,  but  riming  with  don't  in 
other  parts  of  this  country. 

5,  8.  Maun:  must,  here  perhaps  may.  The  modal  auxiliaries 
shade  into  each  other. 

6,  5.  The  warldis  room:  the  world's  space,  the  whole  wide  world. 

Study 

Plot.  Everything  is  suggested,  almost  nothing  is  told.  Read,  in 
such  a  book  as  Gayley's  Classic  Mylhs  in  English  Literature,  the  story 
of  Orestes,  and  then  try  to  tell  the  story  of  Edward  as  clearly  as  the 
story  of  Orestes  is  told.  Do  you  note  anything  gained?  anything 
lost? 

Development.  State  what  is  strongly  and  impressively  suggested 
in  the  ballad.  Then  show  how  this  suggestion  is  heightened  by  the 
following  devices:  verbal  repetition,  incremental  repetition,  the  anti- 
phonal  arrangement  of  each  stanza,  the  refrain,  the  ballad  testament, 
and  the  two  climaxes. 

Dialogue.  Note  that  the  ballad  is  wholly  in  dialogue.  Compare 
with  The  Hangman^s  Tree.  Trj'  to  put  Baby  Lon  wholly  in  dialogue. 
Could  you  succeed  as  well  with  The  Cruel  Brother  or  The  Twa  Sisters? 

Note  particularly  the  Scotch  forms  and  words:  sae,  nae,  wae,  frae, 
ain,  mair;  hae,  ha',  fa';  bluid,  guid,  steid,  reid,  feit,  deir,  leive,  beir, 
bairns,  dois;  sic,  gang,  mither,  sail,  auld,  dule,  dree;  genitive,  etc., 
in  -is. 

THE  BONNIE  WEE  CROODLIN  DOW 

The  ballad  of  Lord  Randal,  of  which  this  is  a  nursery  version,  tells 
the  story  of  a  lover  poisoned  by  his  mistress.  Originally  the  poison 
was  a  snake  served  as  food;  in  later  versions  the  snake  became  an  eel 
and  then  a  fish.  In  this  nursery  version  the  cruel  mistress  becomes  a 
cruel  step-mother,  the  lover  a  child.  If  the  mammie  is  the  child's 
mother,  the  ballad  is  quite  disordered;  but  perhaps  we  may  think  of 
the  mammie  as  a  nurse.  In  any  case  tragedy  has  become  merely 
pathos;  other  examples  of  this? 

The  ballad  is  printed  unchanged  and  with  all  the  repetitions  to  give 
more  immediately  the  full  effect  of  the  nursery  tone. 

The  ballad,  especially  in  tlie  more  original  versions,  suggests  Ed' 


-ii]  Notes  and  Comment  225 

ward:  question  and  answer,  mother  and  son,  repetition,  ballad  testa- 
ment. But  the  relation  of  mother  and  son  is  changed  and  the 
dramatic  effect  accordingly  lost. 

Study 

Compare  with  Edward,  working  out  the  suggestions  in  the  pre- 
ceding paragraph. 

Refrain.  Compare  with  Edward  and  The  Twa  Sisters. 
Dialogue,  as  suggested  under  Edward. 

THE  DOUGLAS  TRAGEDY 

Tradition  in  Selkirkshire,  Scott  tells  us,  preserves  minute  details 
concerning  the  places  and  incidents  of  this  ballad.  But  the  story, 
however  often  it  may  have  been  reenacted,  is  of  an  ancient  and 
honorable  lineage,  which  bred  such  epics  as  the  German  Kudnm,  the 
Old  English  Waldere,  the  Norse  lay  of  Helgi  Eundingslayer,  and  the 
medieval  Latin  Walthariiis.  The  Wallhariiis,  again,  inspired— and 
is  incorporated  in — Scheffel's  Ekkehard,  an  excellent  historical  novel, 
of  which  an  English  translation  exists.  As  is  usual  in  such  cases,  the 
ballad  goes  to  the  heart  of  the  story,  and  in  the  course  of  tradition 
softens  tragedy  to  pathos. 

I,  4.  Under  night:  at  night,  clandestinely. 

3,  3.  Bugelet:  a  diminutive  of  bugle,  which  itself  represents  a  Latin 
diminutive  meaning  young  ox.  The  bugle-horn  we  now  call  simply 
bugle,  just  as  we  say  calf  for  calf-skin  in  describing  the  binding  of 
a  book. 

7,  I.  When  Margaret  calls  on  Lord  William  by  name  to  spare  her 
father,  we  are  to  understand  that  by  speaking  his  name  she  dooms 
him  to  death.  This  "dead-naming"  comes  out  more  clearly  in  the 
Scandinavian  ballads.  Thus  in  the  Danish  ballad  of  Ribold  and 
Guldborg,  Ribold  enjoins  Guldborg: 

"If  thou  see  me  bleed. 
Name  thou  me  not  to  death. 

"If  thou  see  me  fall. 
Name  thou  me  not  at  all." 

At  the  critical  moment  Guldborg  in  her  anguish  docs  name  him  and 
he  falls. 


226  Notes  and  Comment  [Pp.  n- 

8,  2.  Holland:  fine  linen  from  Holland.  Compare  note  on  bugle 
(-horn)  above. 

9,  4.  No  other  guide:  no  other  escort  than  yourself. 

11,  3.  V/an  water:  colorler^s,  "as  contrasted  with  wine"  (Child). 

12,  3.  Good.  Good  modifies  the  v/hole  phrase  heart's  blood. 
15,  4.  Win:  won. 

18,  2.  What  part  of  the  church  is  the  choir?  nave?  aisle? 

19,  I.  Plait:  plaited,  intertwined.    How  is  plait  pronounced? 

Study 

Plot.  What  is  the  tragic  conflict  in  Lady  Margaret's  breast?  Does 
the  dead-naming  heighten  the  tragedy?  Or  do  you  think  it  rather 
heightens  the  pathos?  Would  the  story  seem  materially  changed 
to  you  if  3'ou  knev/  that  Margaret  was  betrothed  to  another?  Does 
this  ballad  suppress  as  many  details  as  Edward?  Compare  with 
Edward  for  tragedy  and  pathos. 

Dialogue.  If  you  read  only  the  stanzas  in  dialogue,  you  will  find 
that  the  story  is  fairly  complete.  Try  it.  The  dialogue,  we  may 
assume,  represents  the  communal  ballad  as  it  was  danced  and  acted 
out,  while  the  narrative  stanzas  were  gradually  added  as  the  ballad 
became  a  piece  to  be  recited.  What  ballads  have  had  no  narrative 
stanzas  whatsoever? 

Commonplaces.  What  commonplace  did  we  note  in  The  Cruel 
Brother?  Stanzas  18-20  of  the  present  ballad,  'i<re  found  in  many 
ballads.  If  you  have  access  to  Sargent-Kittredge,  you  may  compare 
Fair  Margaret  and  Sweet  William  (No.  74),  Lord  Lovel  (No.  75),  The 
Lass  of  Roch  Royal  (No.  76),  and  Lady  Alice  (No.  85).  Does  this 
commonplace  seem  to  belong  to  one  of  these  ballads  rather  than 
another?  Compare  our  stanza  20  with  the  corresponding  stanzas 
of  74 A,  75A,  and  85 A:  which  fits  in  best  with  the  rest  of  the  ballad 
in  which  it  occurs? 

Stanza  3  might  be  called  a  commonplace  within  the  ballad.  Where 
does  it  occur  again?   What  other  stanza  is  used  over  again  in  this  way? 

THE  BONNIE  LASS  OF  ANGLESEY 

If  we  assume  that  the  gifts  of  stanza  4  were  originally  offered  in 
stanzas  of  incremental  repetition,  as  they  are  in  a  somev/hat  similar 
Danish  ballad,  and  the  partners  were  similarly  introduced  one  after 
another,  it  seems  as  if  we  might  have  here  a  survival  of  a  genuine  old 


-14]  Notes  and  Comment  227 

communal  dance-song.  The  incident,  in  that  case,  was  one  of  neigh- 
borhood rivalry.  The  king  was  at  first  the  local  lord  of  revels,  Hke 
the  "king  of  the  husking  bee"  of  our  own  pioneer  days.  The  grand 
folk  of  the  ballad  as  we  have  it,  may  be  taken  as  an  example  of  the 
ballad's  lov^e  of  splendor. 
2,  I.  Cry:  proclamation. 

2,  3.  Gar  saddle  ye:  have  your  horses  saddled. 

3,  3.  Hae  to  ask:  may  count  on. 

4,  I.  Ploughs.  A  plough  of  land  is  as  much  land  as  a  plow  can 
cultivate  yearly. 

7,  I.  Dead:  death.     See  note  on  Bonny  Barbara  Allan,  8,  2. 
7,  4.  Gaed:  gave.    The  word  is  apparently  a  blend  of  the  mere 
usual  Scotch  forms  gae  and  gied. 

Study 

What  ballads  suggest  the  dance?  Wherein  does  the  suggestion 
consist?  Describe  some  game  of  forfeits  you  have  played,  which 
enacted  a  story,  and  point  out  the  similarity  to  some  ballad.  Show 
that  in  either  case  the  plot  reduces  to  a  simple  situation.  Develop 
the  situation  of  each  into  a  complete  story. 

War-dances  often  mock  the  conquered  foe,  improvised  songs  are 
often  in  derision  of  some  enemy.  Of  what  ballad  may  this  be  equally 
true? 

If  you  have  read  the  story  of  the  Iliad,  show  how  the  boasting  and 
exultation  of  the  Homeric  heroes  is  like  the  boasting  and  exultation 
of  "rooting"  and  similar  expressions  of  school  spirit.  Show  also  how 
the  latter  is  of  a  communal  nature. 

THE  DEVIL  AND  THE  GIRL 

When  the  girl,  in  the  last  stanza,  names  the  "foul  fiend,"  he  dis- 
appears, as  we  are  expressly  told  in  another  version: 

As  soon  as  she  the  nend  did  name, 
He  flew  away  in  a  blazing  flame. 

This  ballad  is  probably  of  a  very  ancient  kind.  "Riddles  .  .  ., 
probably  the  oldest  extant  form  of  humor.  They  spring  from  man's 
earliest  perception  that  there  are  such  things  as  analogies  in  na- 
ture. .  .  .  After  inventing  the  riddle,  men  began  to  use  it  in  a  kind 
of  game;  bets  were  staked  on  the  answer  ?,nd  sides  were  made,  each 


228  Notes  and  Comment  [Pp.  14- 

side  backing  its  champion.  These  sports  in  Marriner's  time  were 
common  in  Tonga;  they  are  no  less  popular  among  the  African 
WoloflFs.  Samson's  riddle  set  to  the  Philistines  is  an  instance  of  the 
sport  in  a  Semitic  country.  In  marchen  and  ballads,  the  hero's 
chance  of  winning  his  beloved,  or  of  escaping  punishment,  is  often 
made  to  turn  on  his  power  of  answering  riddles." — Encyclopaedia 
Britannica. 

We  can  trace  the  development  of  this  ballad,  theoretically,  as 
follows.  First,  in  the  primitive  communal  dance,  a  give  and  take  of 
question  and  answer.  Clever  riddles  are  remembered,  new  ones  are 
added,  and  a  riddle  dance-song  is  evolved.  There  is  as  yet  no  story. 
This  comes  when  the  dance-song  is  made  part  of  a  simple  situation: 
the  clever  lass  must  answer  the  riddles  to  escape  the  fiend,  or  to  win 
a  husband.  Once  such  a  situation  is  acted  out  in  song  and  dance, 
we  have  a  ballad  according  to  our  definitions.  Finally  such  a  ballad 
becomes  traditional.  In  time  it  ceases  to  be  a  dance-song  and  is 
merely  sung  or  recited  by  an  entertainer: 

Will  ye  hear  a  wonder  thing 
Betwixt  a  maid  and  the  fou!  fiend? 

This  is  the  stage  at  which  most  of  our  ballads  have  arrived. 

In  a  similar  kind  of  ballad  the  imposing  of  puzzling  or  impossible 
tasks  takes  the  place  of  the  questions  or  riddles.  Thus  in  one  ballad 
the  lover  demands : 

"I  want  you  to  make  me  a  cambric  shirt. 
Without  any  seam  or  needlework,  etc." 

The  young  woman  counters  with : 

"I  want  you  to  buy  me  an  acre  of  land 
Between  the  salt  sea  and  the  sea  sand,  etc." 

Such  ballads  and  riddle  ballads  proper  may  be  classed  together  as 
wit-matching  ballads. 

Poetic  riddles  form  a  considerable  portion  of  Old  English  lit- 
erature. What  they  were  like  can  be  seen  from  Burns's  John  Barley- 
corn. In  Grimm's  Fairy  Talcs  you  will  find  a  riddle  story  entitled 
"The  Peasant's  Clever  Daughter."  Samson's  riddle  is  in  Judges,  xiv. 
The  story  of  CEdipus  and  the  riddle  of  the  Sphinx  will  be  found  in 
Gayley's  Classic  Myths  in  English  Literature  or  any  similar  book  ot 


-i6]  Notes  and  Comment  229 

old  Greek  stories.  Read  also  the  casket  scene  in  Shakespeare's 
Merchant  of  Venice  and  Merlin's  "riddling  triplets  of  old  time"  in 
Tennyson's  The  Coming  of  Arthur.  In  Gozzi's  The  Princess  Turandot, 
recently  revived  on  the  London  and  New  York  stage,  Turandot  will 
wed  only  the  suitor  who  guesses  her  riddles,  and  she  puts  to  death  all 
who  fail. 

I,  I.  Wonder:  wonderful,  strange. 

I,  I.  Thing:  perhaps  in  the  original  sense  of  a  matter  of  dispute 
between  two  contestants  or  a  meeting  to  settle  a  dispute. 

3,  I.  Mote:  may,  optative;  mote  I:  "if  I  might."  Compare  "so 
mote  it  be"  in  the  Masonic  burial  service.  The  past  tense  of  this 
verb  was  must,  now  present  in  meaning  and  used  in  the  older  sense 
of  obligation. 

3,  I.  Leman:  lover,  loved  one;  a  contraction  of  lief-man  as  darling 
is  of  dear-Kng,  the  f  being  lost  as  in  woman,  lady,  and  lammas. 

4,  2.  Forward  hold:  keep  your  agreement  or  promise. 

7,  2.  Rather:  earher,  sooner,  quicker;  Milton  uses  the  positive  in 
speaking  of  the  "rathe  primrose"  {Lycidas,  hne  142). 

8,  2.  Dead:  death. 

ID,  2.  Richer:  used  here  perhaps  in  an  older  sense  of  more  powerful, 
12,  r.  But:  unless. 

12,  I.  Answery:  answer,  ME.  andswerien.  There  were  so  few 
verbs  in  -ien  and  so  many  in  -en  that  the  -ien  verbs  were  made  to 
conform  to  the  -en  verbs;  later  the  -en  was  lost  in  all  verbs. 

13,  I.  Jesu:  Latin  vocative,  often  found  in  earlier  works. 

17,  I.  Looking:  expectation;  "hope  deferred  maketh  the  heart 
sick." 

18,  I.  God's  flesh:  the  host  partaken  of  in  holy  communion. 

22,  2.  Nill:  for  ne  will,  will  not;  compare  willy-nilly,  "will  I  or 
will  I  not." 

Study 

Wliat  ballads  have  had  in  them  some  suggestion  of  the  dance?  Is 
there  any  such  suggestion  here?  How  do  we  know  that  riddles  are 
used  for  games?  Show  that  a  succession  of  riddles  and  answers  might 
well  become  a  dance-song.  Would  a  group  of  riddles  followed  by 
the  answers  all  in  one  group  serve  as  well?  Show  how  the  game  might 
take  on  the  form  of  a  situation,  then  of  a  story. 

Make  a  story  of  the  situation  in  the  present  ballad  by  supplying 
motives,  setting,  characterization,  etc.    Why,  for  instance,  may  the 


230  Notes  and  Comment  [Pp.  16- 

devil  have  come  to  this  particular  girl?  What  had  happened  before, 
or  what  kind  of  girl  was  she,  that  he  should  have  done  so? 

What  in  the  present  ballad  suggests  the  dead-naming  of  The 
Douglas  Tragedy? 

Do  you  think  this  ballad  had  a  refrain?  Why?  Would  any  of  the 
refrains  you  have  studied  be  in  some  way  appropriate  here?  Why  did 
people,  when  they  came  to  write  down  ballads,  fail  to  write  down 
the  refrain? 

Note  the  use  of  assonance  instead  of  rime. 


KING  JOHN  AND  THE  ABBOT 

The  text  is  that  of  Percy's  Rcliques  and  represents  the  popular 
version  in  the  Percy  Folio  very  considerably  retouched  by  Bishop 
Percy.  The  result  is  a  well  rounded  story.  There  is  a  proper  intro- 
duction, the  transitions  are  marked  (one  exception),  the  characters 
are  described,  motives  are  explained,  the  language  is  more  literary. 
Still  there  are  many  of  the  marks  of  the  traditional  ballad.  The 
student  may  therefore  both  compare  and  contrast  it  with  one  of  the 
previous  ballads.  The  glorification  of  the  poor  shepherd  is  a  late 
touch,  but  found  in  all  versions;  in  the  older  ballads  the  actors  are 
high-born  personages. 

Note  the  dactylic  movement  of  the  verse,  which  gives  a  rollicking 
tone  to  the  ballad,  and  suggests  that  the  riddles  are  of  the  kind  called 
Demaiindes  Joyous  in  the  title  of  a  collection  of  them  printed  by 
Wynkyn  de  Worde  in  1511. 

2,3.  House-keeping.  It  was  on  too  lavish  a  scale  to  suit  the  King. 
This,  it  will  be  remembered,  was  one  of  the  causes  of  Wolsey's  down- 
fall. 

3,  3-4.  The  servants  are  designated  by  their — magnificent  enough 
— livery. 

5,  3.  Dere:  harm. 

5,  4.  True-gotten.    Compare  ill-gotten. 

7,  I.  Stead:  place. 

II,  3.  Doctor:  learned  man. 

16,  I.  Sire  and  sir  are  different  forms  of  the  same  word. 

16,  2.  Wit:  understanding. 

18,  3.  The  episcopal  staff  or  ornamental  shepherd's  crook,  the 
crown  coming  to  a  point  front  and  back,  the  linen  vestment,  and  the 
cape  are  here  represented  as  the  abbot's  insignia  of  office.   The  crozier 


-2o]  Notes  and  Comment  231 

belongs  properly  only  to  a  bishop;  in  some  versions  of  the  ballad  the 
persecuted  churchman  is  a  bishop. 
19,  4.  Living:  benefice,  here  abbacy. 

21,  4.  Worser:  worse;  worse  and  near  were  the  old  comparatives: 
-er  was  added  to  both  to  make  them  "  regular "  a,nd  became  good 
usage  in  the  one  case  but  not  in  the  other. 

22,  I.  St.  Bittel.  St.  Bittel  was  put  into  the  ballad  by  Percy  and 
explained  by  him  as  St.  Botolph;  under  the  circumstances  we  may 
assume  that  the  explanation  is  correct.    Boston  is  Botolph's  town. 

27,  I.  Nobles.    A  noble  was  worth  a  third  of  a  pound. 

Study 

Is  there  in  this  ballad  any  suggestion  of  the  dance  or  of  choral 
singing?  Why  is  this  ballad  less  well  adapted  to  use  as  a  dance-song 
than  the  previous  one? 

Verify  and  illustrate  the  statements  in  the  head-note  concerning 
narrative  method.    Show  that  this  is  a  well  rounded  story. 

Compare  and  contrast  with  previous  ballads  as  regards:  simplicity 
of  plot  (situation),  repetition,  refrain,  leaping  and  lingering,  dialogue. 

Compare  the  metrical  form  of  this  ballad  with  that  of  the  ballads 
already  studied.  Do  you  remember  any  rimes  made  up  in  play  by 
yourself  or  some  of  your  playmates?  If  so,  com-pare  the  metrical 
form  with  the  forms  just  discussed  and  with  the  metrical  form  of 
Mother  Goose  rimes.  What  forms  seem  to  come  easiest  for  im- 
provisation? 

PROUD  LADY  MARGARET 

We  have  here  one  of  many  examples  of  ballad  contamination,  the 
welding  of  two  or  more  stories  into  one.  Proud  Lady  Margaret  is, 
like  Turandot  (p.  229),  one  of  the  Perilous  Princesses.  With  this 
riddle  ballad  is  combined  a  ballad  of  the  return  from  the  dead,  of 
which  we  shall  presently  have  two  other  specimens.  In  these  ballads 
the  dead  were  superstitiously  supposed  to  return  for  one  of  two 
reasons:  a  lover  returned  to  ask  back  his  troth-plight  or  promise  of 
marriage  in  order  that  his  sleep  in  the  grave  might  be  undisturbed 
by  any  sense  of  unfulfilled  obligations;  or  the  dead  one  returned  to 
rebuke  the  bereaved  one  or  ones  for  excessive  weejiing  and  mourning, 
which  disturbed  his  peace  in  the  grave.  The  return  for  the  purpose 
of  giving  admonition,  as  in  the  present  ballad,  seems  to  belong  in  a 
general  way  under  the  second  head. 


1 

232  Notes  and  Comment  [Pp.  20- 

I,  3-4.  A  commonplace. 

3,  3.  Cunning:  skilful.  "Esau  was  a  cunning  hunter." — Genesis, 
XXV,  27. 

5,  2.  Mean:  moan.  We  have  lost  the  verb  mean  and  use  the 
noun  moan  as  a  verb.     Compare  streak  and  stroke  below. 

6,  I.  Read  my  riddle.  Read  originally  meant  to  explain  a  diiE- 
culty,  to  advdse,  to  guess.  Compare  German  raten.  Riddle  is  from 
the  same  root. 

7,  I.  Leems:  gleams,  "but  longs,  belongs,  is  the  word  required." — 
Child. 

7,  4.  Twine:  towel.     Etymology?     Compare  twill. 

9,  2.  We  omit  the  relative  only  when  it  is  in  the  objective  case; 
in  earlier  English  the  nominative  case  could  also  be  omitted,  as  here. 
Other  examples? 

12,  4.  Swims:  this  verb  plural  is  Northern  or  Scotch.  Other  ex- 
amples? 

14,  4.  Heir:  inherit. 

Study 

Can  you  point  out  where  the  welding  of  the  two  stories  is  imperfect? 

Special  study:  narrative  style  (introduction);  dialogue;  internal 
rime;  Scotch  forms  of  words  (note  especially  the  frequent  riming 
of  die  and  lie  ^^^th  three,  me,  etc.). 


SWEET  WILLIAM'S  GHOST 

Siveet  William's  Glwsl  is  perhaps  the  best  known  of  the  ballads 
dealing  with  the  return  of  the  dead.  It  occurs  twice  as  a  continuation 
of  another  ballad,  Clerk  Saunders,  in  which  the  lover  is  slain  in  the 
lady's  company,  and  one  of  these  continuations  has  been  affected  by 
Proud  Lady  Margaret: 

"O,  I'm  Clerk  Saunders,  your  true-love. 

Behold,  Margaret,  and  see. 
And  mind,  for  a'  your  meikle  pride, 

Sae  will  become  of  thee." 

The  return  of  the  dead  lover  is  to  receive  back  his  troth-plight. 
But  since  the  touch  of  a  ghost  is  fatal,  the  loved  one  must  "streak" 
(stroke)  her  plight  upon  a  wand  and  hand  over  the  wand.  Then  the 
ghost  may  return  to  the  grave  in  oeace.    So  in  version  B;  in  version  D 


-23]  Notes  and  Comment  233 

she  has  taken  a  silver  key,  and  "gi'en  him  three  times  on  the  breast." 
In  C  "she  struck  him  in  the  breast"  with  her  white,  white  hand,  in 
E  she  "smoothed  it  [her  milk-white  hand]  on  his  breast."  In  our 
version.  A,  all  this  has  become  very  vague.  Query:  Are  we  to  suppose 
that  here  and  in  Proud  Lady  Margaret  the  ghost's  fatal  touch  causes 
death?    See  also  Scott's  Pirate,  Advertisement. 

In  C  there  is  a  powerful  scene  in  the  churchyard,  in  good  incre- 
mental stanzas: 

"What  three  things  are  these,  Sweet  William,"  she  says, 

"That  stands  here  at  your  head?" 
"It's  three  maidens,  Marjorie,"  he  says, 

"That  I  promised  once  to  wed." 

"What  three  things  are  these.  Sweet  William,"  she  says, 

"That  stands  here  at  your  side?" 
"It  is  three  babes,  Marjorie,"  he  says, 

"That  these  three  maidens  had." 

"What  three  things  are  these,  Sweet  William,"  she  says, 

"That  stands  here  at  your  feet?" 
"It  is  three  hell-hounds,  Marjorie,"  he  says, 

"That's  waiting  my  soul  to  keep." 

And  one  is  tempted  to  think  that  these  stanzas  must  in  some  version 
have  been  followed  by  the  beautiful  lyric  which  Hogg  communicated 
to  Scott: 

"But  plett  a  wand  o'  bonnie  birk 

An'  lay  it  on  my  breast. 
An'  drap  a  tear  upon  my  grave. 
An'  wiss  my  saul  gude  rest. 

"But  fair  Marget,  an'  rare  Marget, 

An'  Marget,  o'  verity. 
If  e'er  ye  loe  another  man. 

Ne'er  loe  him  as  ye  did  me." 

But  up  then  crew  the  milk-white  cock. 

An'  up  then  crew  the  grey; 
Her  lover  vanish'd  in  the  air. 

An'  she  gaed  weepin'  away. 

But  Hogg  or  some  other  poet  must  have  retouched  these  lines,  es- 
pecially the  second  stanza,  unless  indeed  he  composed  them  outright. 


234  Notes  and  Comment  [Pp.  23- 

The  narrative  stanzas,  with  some  allowances  to  be  made  for  lo  and 
the  substance  of  i6,  are  clearly  adulterations:  grievous  groan,  evan- 
ished, the  constant  Margaret,  soft  hmbs  are  not  ballad-like.  They 
are  easily  accounted  for.  Our  version  first  appeared  in  Ramsay's 
Tea  Table  Miscellany,  1740,  in  v/hich  the  ballads  were  dressed  up  to 
suit  the  taste  of  the  time.  The  ballad  would  suffer  scarcely  at  all  if 
these  stanzas  (10  excepted)  were  omitted,  and  would  then  be  in  the 
good  old  dialogue  form. 

I,  3.  Tilled  at  the  pin:  rattled  the  latch-pin. 
5,  I.  Thou's:  thou  has  to,  thou  shalt. 

7-9.  Compare  4-6. 

9,  2.  Lines  that  are  stop-gaps  are  frequent  in  ballads,  as  in  im- 
provisation; sometimes  they  are  not  merely  v\'cak,  but  wrong.  So 
this  Hne. 

10,  2.  This  line  should  tell  us  that  Margaret  handed  over  the  troth- 
plight;  but  all  recollection  of  such  a  procedure  has  faded  away.  Such 
failures  of  memory  are  frequent  in  our  texts. 

10,  3.  Hae:  have,  take;  possibly  the  interjection  hey  is  meant. 

II,  1-2.  This  is  the  stock  ballad  description  of  a  girl  getting  ready 
to  run  after  her  lover  or  on  an  erraiid.  The  stanza,  however,  seems 
to  have  some  Tea  Table  retouching. 

11,  4.  The  s  of  corps(e)  was  taken  to  be  a  plural,  so  a  new  singular 
corp  was  made;  pea,  cherry,  sherr}^  burial,  riddle,  etc.,  lost  an  original 
s  of  the  singular  in  the  same  way. 

12-13.  Compare  2-3. 

13,  4.  Meet:  well-fitting. 

14.  Compare  stanza  9  of  the  next  ballad.  Possibly  something 
more  than  ballad  color-variation.  According  to  Icelandic  tradition, 
at  the  break-up  of  the  Vv'orld  (ragnarok,  or  twilight  of  the  gods)  the 
bright-red  cock  calls  to  the  last  battle  those  in  the  "  Bird  Wood," 
the  golden-combed  cock  those  in  the  house  of  Odin,  and  the  sooty- 
red  cock  those  in  the  dwelling  of  Hel  beneath  the  earth. 

Study 

Examine  the  narrative  stanzas.  What  is  there  in  each  that  makes 
it  seem  a  literary  addition  or  sophistication?  Is  this  true  also  of 
stanzas  10  and  16?  Are  any  of  the  suspected  stanzas  necessary  for  the 
story?  How  does  this  ballad  bear  out  the  theory  that  epic  treatment 
(i.  e.,  narrative)  came  comparatively  late?  What  other  ballads  have 
pointed  to  the  same  conclusion? 


-27]  Notes  and  Comment  235 

Is  this  ballad  as  far  removed  from  a  dance-song  as  The  Devil  and 
the  Girl?  as  King  John  and  the  Abbot? 

THE  WIFE  OF  USHER'S  WELL 

"There  is  no  indication  that  the  sons  come  back  to  forbid  ob- 
stinate grief,  as  the  dead  often  do.  But  supplying  a  motive  would 
add  nothing  to  the  impressiveness  of  these  verses.  Nothing  that 
we  have  is  more  profoundly  affecting." — Child. 

1,  I.  Wife:  woman.    Cf.  Chaucer's  Wife  of  Bath. 

2,  3.  Carline:  woman  of  low  birth,  then  in  general  old  woman; 
here  an  adjective. 

3,  1-2.  Standard  arithmetic  for  ballads,  occurring  over  and  over 
again.  In  the  preceding  stanza,  of  which  this  is  an  incremental 
variation,  the  arithmetic  is  not  so  surprising. 

5,  I.  Martinmas:  the  feast  of  St.  IMartin,  November  li.  The 
Scotch  quarter  or  rent  days  are:  Candlemas  (February  2),  Whit- 
sunday, Lammas  (August  i),  and  Martinmas. 

5,  4.  The  birch  signifies  death.    See  next  stanza. 

9,  1-2.  Commonplace,  found  e.  g.  in  Sweet  William'' s  Ghost. 

11,  3.  Our  place:  "  our  place  in  Paradise." 

12,  2.  The  homely  touches  of  this  stanza  have  evoked  many  com- 
ments on  their  charm.  A  hke  homeliness  has  caused  the  more  bitter 
words  of  the  ghost  of  Achilles  to  Odysseus,  Odyssey,  xi,  4895.,  to 
be  so  well  remembered. 

Study 

The  other  two  return  of  the  dead  ballads  are  more  dramatic,  this 
one  is  more  idyllic.    Justify  this  statement. 

Compare  with  Sweet  William's  Ghost:  proportion  and  relative  im- 
portance of  the  narrative  stanzas.  Is  there  any  dialogue  in  the  present 
ballad? 

What  commonplaces  are  found  in  this  ballad?  Can  you  say  any- 
thing about  their  fitness? 

Make  a  list  of  superstitious  beliefs  referred  to.  Which  of  these 
are  quite  new  to  you?  Which  suggest  to  you  existing  superstitions 
of  which  you  have  knowledge? 

THE  JEW'S  DAUGHTER 

That  the  Jews  ever  made  a  practice  of  ofTcring  Christian  children 
as  sacrificial  victims  or  crucified  them  in  mockery  of  the  passion  of 


236 


Notes  and  Comment  [Pp.  27- 


Our  Lord,  no  one  now  believes.  That  those  who  persecuted  the  Jews 
in  the  middle  ages,  believed  such  wickedness  of  them,  is  only  too 
certain. 

The  Annals  of  Waverley  and  of  Burton  and  the  chronicle  of  Mat- 
thew of  Paris  relate  the  persecution  of  Jews  for  the  murder  of  Hugh 
of  Lincoln.  The  date  given  is  1255.  The  Peterborough  Chronicle 
tells  under  date  of  1137  of  the  death  of  William  of  Norwich  at  the 
hands  of  Jews.  Chaucer's  Prioress,  at  the  close  of  a  tale  on  the  same 
theme,  says 

O  yonge  Hugh  of  Lincoln,  slayn  also 

With  cursed  Jewes,  as  it  is  notable, 

For  it  nis  but  a  litel  whyle  ago. 

Maurice  Hewlett's  tale  of  Gervaise  of  Tilbury  in  his  New  Canterbury 
Tales  treats  the  same  theme  with  a  wealth  of  romantic  coloring. 

This  is  one  of  the  few  traditional  ballads  rather  widely  spread  in 
this  country.  An  independent  version,  with  its  own  air,  was  reported 
in  one  of  the  present  editor's  classes.  In  an  Irish-American  version 
the  old  wicked  belief  about  the  Jews  has  disappeared.  The  Jew's 
daughter  has  become  "the  duke's  daughter"  and  little  Hugh  bears 
the  more  modern  name  of  Harry  Hughes.  (Newell's  Games  and  Songs 
of  American  Children,  page  75.) 

I,  3.  Came  him  sweet  Sir  Hugh:  as  we  frequently  hear  "Hugh 
he  came."  This  redundant  him  before  the  noun  is  common  in 
ballads. 

3,  I.  Done  him:  betaken  himself. 

II,  2.  Coffer:  trunk  or  box.  This  seems  out  of  place.  No  doubt  a 
commonplace. 

15-17.  Miraculous  incidents  are  common  to  all  the  versions  and 
all  the  stories. 

Study 

How  does  this  ballad  resemble,  how  does  it  differ  from,  the  return 
of  the  dead  ballads? 

Plot  and  narrative  method.  Split  situation.  Proportion  and  rela- 
tive importance  of  narrative  stanzas.  Introduction;  transitions.  In- 
cremental repetition.     Parallel  repetition. 

Commonplaces.  The  number  four  and  twenty  will  be  found  again 
in  two  incremental  stanzas  in  The  Gay  Goshawk  and  in  Katharine 
Janfarie;  there  are  some  fifty  references  in  all  in  the  index  to  Child. 
What  well-known  occurrence  of  the  number  in  Mother  Goose? 


-3o]  Notes  and  Comment  237 

Stanza  8,  lines  1-2,  are  in  RoUn  Hood's  Death.  10,  i  occurs  upwards 
of  thirty  times;  11,  i  occurs  a  dozen  times  and  in  three  or  four  of 
these  with  the  same  second  line. 

SIR  PATRICK  SPENS 

"This  admii^d  and  most  admirable  ballad  is  one  of  the  many 
which  were  first  made  known  to  the  world  through  Percy's  Reliques. 
Percy's  version  remains,  poetically,  the  best.  It  may  be  a  fragment, 
but  the  imagination  easily  supplies  all  that  may  be  wanting;  and  if 
more  of  the  story,  or  the  whole,  be  told  in  [version]  H,  the  half  is 
better  than  the  whole." — Child. 

The  tragic  interest  is  in  the  hero;  in  Edward  it  is  in  the  situation. 

The  historic  basis  of  the  ballad,  if  it  has  one,  has  never  been  clearly 
established.  Andrew  Lang  says:  "This  ballad  is  a  confused  echo  of 
the  Scotch  expedition  which  should  have  brought  the  maid  of  Norway 
[granddaughter  of  Alexander  III]  to  Scotland,  about  1285." 

See  note  on  Bonny  George  Campbell  (page  273f.). 

I,  I.  Diunferling:  Dunfermline.  "While  Dunfermline  is  still 
spoken  of  as  the  favorite  Royal  residence,  the  Scotch  nobles  wear  the 
cork-keeled  shoon  of  a  later  century,  a  curious  example  of  the  medley 
common  in  traditional  poetry." — Andrew  Lang. 

3,  I.  Braid  letter:  perhaps  a  detailed  or  an  authoritative  letter; 
but  braid  may  be  merely  an  instance  of  the  epic  adjective  or  epithet. 

3,  4.  See  note  on  Proud  Lady  Margaret,  stanza  9,  line  2. 

4.  Similar  stanzas  occur  in  various  \'ersions  of  at  least  sLx  different 
ballads,  including  one  version  of  The  Gay  Goshawk. 

6-7.  "There  is  neither  choice  nor  thought,  but  prompt  obedience 
to  orders.  The  ship  must  sail  the  morn,  and  this  without  regard  to 
the  fearful  portent  of  the  new  moon  having  been  seen  late  yestreen 
with  the  auld  moon  in  her  arm." — Child. 

10,  2.  Kems.  Compare  with  unkempt. 

11,4.  Scots.  OE.  Scottisc  (earlier  Scyttisc)  became  Scottys  and 
then  Scots  (English  Scottish  and  Scotch). 

"A  modern  writer  has  pointed  out  that  Germanic  popular  poetry, 
along  with  Celtic  and  Slavic,  has  always  loved  the  beaten  cause  and 
echoed  the  tragedy  of  hfe.  Who  does  not  recall  that  large  simplicity 
in  which  doom  is  announced,  as  if  to  a  Greek  tragic  chorus,  at  the 
close  of  the  Nibclungen  Lay?  Who  does  not  feel  the  same  spirit, 
playing  in  smaller  bounds,  at  the  close  of  Sir  Patrick  Spens?  " — 
Gummere. 


238  Notes  and  Comment  [Pp.  30- 

Study 

Comment  on  the  passages  quoted  from  Child  and  Gummere. 
Narrative   and   dialogue.     Leaping   and   lingering.     Action  and 
character.     Is  character  so  important  in  any  other  ballad? 

ST.  STEPHEN  AND  HEROD 

The  story  of  the  first  martyr  of  the  Christian  church  will  be  found 
in  Acts,  vi  and  vii.  The  connection  with  Herod  and  the  miracle  here 
told  is,  however,  legendary  and  not  biblical.  St.  Stephen's  day  is 
December  26;  how  is  this  expressed  in  the  ballad? 

The  text  of  the  ballad  is,  with  one  exception,  the  oldest  we  have, 
and  final  e  was  still  pronounced  as  we  have  indicated.  But  if  the 
student  will  read  with  lively  emphasis,  and  observe  the  caesura,  he 
will,  even  with  his  everyday  pronunciation,  get  a  spirited  and  satis- 
factory rhythm.  The  hit  of  this  old  Christmas  carol  can,  indeed, 
scarcely  be  destroyed;  and  it  is  infectious.  "I  sing  it  all  over  the 
house,"  Child  once  said  to  Gummere. 

For  the  metrics,  see  Introduction  (page  xxxii). 

I,  I.  Clerk.  The  successive  meanings  of  clerk  are  cleric  or  clergy- 
man, scholar  (learning  was  confined  to  men  intended  for  the  church) , 
the  incumbent  of  a  royal  office  requiring  some  learning,  any  royal 
officer,  amanuensis  or  other  assistant.  The  Oxford  Dictionary  cites 
"His  Clerk  of  the  Kitchen  or  his  Cook"  from  Cowley's  Liberty,  and 
"  Clarke  of  the  Spicery  to  King  Henry  the  eight"  from  a  book  printed 
in  1631. 

1,  2.  Served  .  .  .  cloth:  waited  on  the  table,  acted  as  butler. 
Befalle:  this  is  subjunctive,  but  the  use  of  the  mode  here  is  not  clear. 

2,  2.  Bedlem:  Bedlam,  Bethlehem.  The  hospital  of  St.  Mary  of 
Bethlehem  in  London  was  used  as  an  insane  asylum,  hence  our  use 
of  bedlam. 

5,  I.  Quat:  what;  the  spelling  indicates  the  Scotch  guttural  pro- 
nunciation of  wh.    Befalle:  befallen. 
5,  2.  Meat:  food  (of  any  kind). 
7,  I.  Wood:  mad,  crazy. 
7,  I.  Breede:  have  strange  fancies. 

7,  2.  Weede:  robe,  garment:  compare  widow's  weeds. 

8,  I .  Ne  none :  nor  no,  nor  any.  The  double  negative  was  in  good 
use  up  to  about  1600. 

10,  2.  Christus  natus  est:  "Christ  is  bom." 


-34]  Notes  and  Comment  239 

II,  I.  Riseth:  this  is  plural  imperative,  as  in  Chaucer.  So  also 
leadeth  and  stoneth  in  the  next  line. 

11,  I.  By  two  ...  by  one:  by  twos  and  singlj^  rail  intensifies  one, 
as  in  alone  from  aU-one. 

12,  2.  See  introductor}'  note  above. 

Study 

Are  any  of  the  narrative  stanzas  essential  to  the  ston,-?  Compare 
with  Sweet  Williatn's  Ghost  for  narrative  and  dialogue. 

Rewrite  two  or  three  of  the  stanzas  so  as  to  indicate  that  they  are 
essentially  Uke  the  ballad  stanza  j'ou  are  already  familiar  v,iih.  What 
lines  are  used  somewhat  Uke  refrains?  Why  should  they  not  be 
regarded  as  refrains? 

KEMP  OWYXE 

Transformation  is  the  theme  of  this  and  the  ensuing  ballads.  Here 
we  have  the  hero  who  in  spite  of  danger  and  disgust  breaks,  with  a 
kiss,  or  three  kisses,  or  by  marriage,  the  spell  which  has  turned  a 
beautiful  lady  into  a  loathsome  hag.  As  to  how  Owain  became  the 
hero  of  such  an  ad\'enture,  we  may  venture  two  guesses. 

1.  In  the  tale  of  The  Lady  of  the  Fountain,  in  the  Welsh  Mabinogion, 
Luned  is  imprisoned  by  the  Countess,  her  mistress,  and  condemned  to 
be  burned  alive,  unless  Owain  shall  come  to  her  rescue,  as  he  does. 

2.  In  another  version  of  our  ballad  the  hero  is  called  Kempion, 
i.  e.,  Champion.  This  appellative  may  have  been  broken  up  into 
Kemp  Owyne;  though  it  is  equally  possible  that  the  reverse  process 
telescoped  Kemp  Ow>-ne  into  the  single  appellative. 

3.  4.  Borrow:  redeem.  Connect  this  with  the  modem  meaning 
of  the  word. 

5,  I.  News.    What  is  the  number  in  present  usage? 
8,  2.  Brought  him  wi':  brought  (back)  with  him. 
II,  I.  Brand:  sword;  compare  the  verb  brandish. 

Study 

Probably  two  versions  blended.  The  four-line  stanzas  are  dull  and 
listless,  with  almost  no  marks  of  ballad  workmanship.  The  six-line 
stanzas  sparkle  with  animation,  and  are  in  the  true  ballad  manner. 
Show  this  difference  by  a  study  of  the  incremental  repetition,  parallel 
repetition,  and  dialogue  in  the  text.  Show  also  where  the  four-line 
stanzas  draw  the  attention  away  from  the  story. 


240  Notes  and  Comment  [Pp.  34- 

May  this  have  been  a  dance  ballad?     Wh}-? 
Note  the  monotony  of  the  rime.     Stanzas  4-6  have  been  printed 
as  two  six-line  stanzas.    Would  the  rime  permit  this? 

THE  LAILY  WORM  AND  THE  MACHREL  OF  THE  SEA 

I,  I.  Year:  old  neuter  plural. 

1,  2.  Fan.     Point  out  other  instances  of  f  for  wh. 

2,  I.  Laily  worm:  loathly  serpent. 
2,  3.  Lays:  lies. 

2,  4.  Machrel:  mackerel. 

3,  I.  The  spell  is  broken  over  Sunday,  and  the  sister  and  perhaps 
both  sister  and  brother  resume  their  human  shapes  for  the  time  being. 

4,  4.  Eight  an:  eighth  one;  compare  note  on  nexten  and  lasten, 
The  Twa  Sisters,  27-28.  Eight  is  the  older  form  of  the  ordinal; 
The  Famous  History  of  King  Henry  the  Eight  is  the  title  of  Shake- 
speare's play  in  the  First  Folio. 

10,  3.  Far:  where. 

11,  2.  "Serving  for  food  and  wages."    The  hne  is  a  commonplace. 
II,  4.  Mary:  lady  in  waiting,  maid  of  honor.    From  the  proper 

name.    Free:  noble. 

13,  I.  Wan':  wand. 

14,  3.  Came  her  till:  came  to  her. 
14,  5.  Unshemly:  unseemly. 

14,  6.  Ye's:  ye  shall. 

15,  2.  Fun:  whin,  furze,  heather. 

Study 

What  seems  to  have  been  lost  from  the  story?  Can  you  complete 
the  story  from  Kemp  Owyne?  Or  would  Grimm's  story  of  The  En- 
chanted Stag  give  a  more  satisfactory  hint?  (The  brother  is  changed 
to  a  stag.  The  sister  escapes  the  wicked  designs  of  the  witch,  their 
stepmother.  The  witch  is  burned.  As  soon  as  she  is  consumed  to 
ashes,  the  stag  returns  to  his  human  shape.) 

Such  details  are  often  forgotten  in  the  course  of  tradition.  But  it 
is  not  always  necessary  to  assume  that  they  were  unknown.  Some- 
times such  points  were  so  well  knov/n  that  they  could  be  taken  for 
granted.  In  The  Hangman's  Tree,  which  is  really  the  story  of  a  girl 
saved  from  pirates,  the  incidents  may  be  supposed  to  have  been 
known  to  all  who  took  part  in  the  dance  commemorating  the  event, 


-38]  Notes  and  Comment  241 

and  the  dance-song  needed  to  take  up  only  such  details  as  seemed 
worth  lingering  over.  That  such  a  communal  ballad  may  have  been 
handed  down,  as  this  was,  after  such  details  were  actually  forgotten, 
does  not  alter  the  original  fact  of  their  ha\  ing  been  known  when  the 
ballad  was  truly  a  dance-song.  Examine  the  ballads  you  have  studied 
and  pick  out  one  which  may  reasonably  have  been  a  ballad  in  which 
details  were  suppressed  because  well  known. 

Note  the  autobiographical  features  of  The  Laily  Worm.  Show  that 
the  use  made  of  them  is  dramatic  rather  than  narrative.  Is  the  whole 
ballad  autobiographical?  If  this  ever  was  a  communal  ballad,  ac- 
tually danced  and  sung,  what  part  of  the  ballad  represents  the  sup- 
posititious old  dance-song? 


THOMAS  RYMER 

Thomas  the  Rhymer  has  been  identified  with  Thomas  of  Erceldoune 
(Earlston)  surnamed  Leirmont  (13th  century).  The  Russian  poet 
Lermontoff  claimed  descent  from  Thomas  the  Rhymer,  for  which 
there  is  at  least  so  much  of  a  basis  in  fact  that  in  the  later  middle 
ages  Scotchmen  migrated  to  the  eastern  Baltic  and  adjoining  lands. 

The  ballad  is  derived  from  a  romance,  in  which  Thomas  upon 
returning  to  "middle-earth"  brings  with  him  the  elf-queen's  gift  of 
prophecy.  Much  of  the  romance  is  taken  up  with  these  prophecies. 
Many  of  True  Thomas's  prophecies  are  still  current  in  Scotland,  or 
were  a  generation  ago. 

Stanzas  9  and  15  detail  articles  of  folk-belief.  The  kiss  or  embrace 
which  puts  Thomas  into  the  elf-queen's  power  should  have  been  told 
about  between  stanzas  4  and  5. 

I,  I.  True  Thomas:  so  called  from  the  truth  of  his  prophecies. 

I,  3.  Brisk  and  bold:  vivacious  and  full  of  spirit. 

7,  2.  Wade:  waded. 

8,  3.  Free:  generous,  well-born,  noble. 

13,  2.  Lilly  leven:  liefly  (i.  e.,  lovely)  lea  or  lawn. 
16,  I.  Even:  smooth. 

Study 

Note  the  literary  influences  in  stanzas  i  (characterization,  allitera- 
tion), 7  (imagery),  and  11  (inv^olved  sentence).  Note  the  influence  of 
Christianity  in  stanzas  3  and  12-13.  I'oint  out,  against  these,  the 
marks  of  the  popular  ballad.    Does  the  ballad  afford  a  hint  as  to  the 


242  Notes  and  Comment  [Pp.  38- 

possible  outcome  of  The  Laily  Worm?    What  traits  has  the  ballad  in 
common  with  Grimm's  True  John? 

HIND  ETIN 

"Commerce  of  mortal  with  creatures  of  the  other  world  is  among 
the  oldest  themes  in  story"  (Gummere);  and  is  fraught  with  tragedy. 
A  modern  literary  treatment  of  this  theme  will  be  found  in  Matthew 
Arnold's  two  poems,  The  Neckan  and  The  Forsaken  Merman.  Com- 
pare also  The  Great  Silkie  of  Side  Skerry. 

The  etins  were  giants.  The  forms  eotinde,  eotandes  suggest  that 
the  word  may  in  popular  usage  have  been  associated  with  the  present 
participle  of  eat,  namely  etende,  and  taken  to  mean  devourers.  In 
Scandinavian  and  German  ballads  the  hero  is  a  dwarf,  elf,  hill-king, 
or  merman,  but  not  for  that  less  sinister. 

Hind  Etin  means  Young  (man)  Etin. 

I,  I.  May:  maid. 

I,  I.  Bower:  lady's  chamber. 

I,  2.  Ladies  in  their  bowers  are  represented  either  as  combing  their 
golden  hair  or  as  sewing  a  silken  seam.  See  Sir  Patrick  Spens, 
stanza  11. 

1.  3.  She  probably  rather  heard  a  note,  a  call  she  could  not  resist. 
The  conception  nut  has  then  further  crept  into  stanza  3,  where  the 
usual  thing  is  a  rose. 

2.  Compare  Sweet  William's  Ghost,  stanza  11,  and  note. 

3.  Compare  The  Wife  of  Usher's  Well,  stanzas  2-3,  and  note. 
5,  I.  The  tither:  that  ither  (other);  the  other. 

8,  2.  Free  for  thee:  free  for  all  of  thee;  for  anything  you  can  do. 
8,  3.  Gif :  if;  not  connected  with  give. 
16,  I.  "The  lark  in  the  air." 

Study 

Commonplaces.  Incremental  and  parallel  repetition.  Details  sup- 
pressed or  forgotten.     Ending. 

Show  that  this  and  the  preceding  ballad  are  stories  rather  than 
dance-songs. 

THE  GREAT  SILKIE  OF  SULE  SKERRY 

The  "seal  of  Sule  rock"  (among  the  Shetland  isles  and  now  famous 
for  its  lighthouse)  describes  himself  sufficiently  in  stanza  3.    We  may 


-44l  Notes  and  Comment  243 

note  the  superstition,  though  it  is  of  no  importance  for  the  present 
story,  that  if  his  sealskin  had  been  stolen  he  could  never  have  changed 
back  from  a  man  to  a  seal.  This  holds  true  also  of  the  werewolf  or 
man-wolf,  who  pla3's  a  large  part  in  folklore. 

The  tragedy  of  the  situation  is  given  a  pungent  turn  of  fatalism 
in  the  last  two  stanzas. 

I, .2.  "Bye,  lovely  wee  one!" 

4,  4.  "Should  have  come  and  owed  a  child  to  me." 

6,  2.  Sin:  sun. 

Study 

Compare  and  contrast  with  Hind  Etin:  story,  relations  of  the 
characters,  tragedy  and  pathos,  use  of  repetition,  dialogue  and 
narrative,  leaping  and  lingering,  ending. 

Make  a  list  of  superstitions  that  play  into  the  ballads.  Is  the 
superstition  always  an  essential  part  of  the  story? 

THE  THREE  RAVENS 

Repetition  and  refrain  in  stanzas  2-10  as  indicated  in  stanza  i. 

2.  The  rime  was  probably  perfect  originally.  See  The  Twa  Sisters, 
stanza  14. 

4,  2.  Can:  probably  do.  The  verb  gan  (i.  e.  began)  was  used  as  a 
mere  auxiliary,  meaning  did;  can  was  substituted  for  gan  and  often, 
under  the  influence  of  can,  be  able,  came  to  be  used  as  a  present 
auxiliary,  do.    In  one  of  these  senses,  do  or  did,  can  is  very  frequent. 

4,  2.  Keep:  take  care  of. 

5,  2.  Fowl:  bird;  compare  "the  fowls  of  the  air"  in  Genesis,  vii,  3. 

6,  I.  Fallow  doe:  so  called  from  its  fallow  or  yellowish  color. 

7,  I.  Lift:  lifted;  Uft  is  the  same  kind  of  past  tense  as  hurt,  thrust, 
etc. 

8,  2.  Lake:  pit.  An  old  author,  quoted  in  the  Century  Dictionary, 
tells  of  Daniel  in  "ye  lake  of  lyons." 

9,  Prime.  Prime  (about  nine  in  the  morning)  and  even-song  or 
vespers  (about  four  in  the  afternoon)  are  two  of  the  seven  canonical 
hours  or  periods  of  prayer. 

10,  2.  Leman.  See  The  Devil  and  the  Girl,  stanza  2,  note.  The 
fallow  doe  is,  of  course,  to  be  taken  allcgorically  for  the  knight's  lady. 

We  print  below  a  cynical  side-piece  to  this  ballad;  cynicism  is  a 
rare  fault  in  the  popular  ballad,  but  will  be  encountered  again  in 
The  Baron  of  Brackley. 


244  Notes  and  Comment  [Pp.  44- 

TEE  TWA  CORBIES 

As  I  was  walking  all  alane, 

I  heard  twa  corbies  making  a  mane: 

The  tane  unto  the  tother  say, 

"Where  shall  we  gang  and  dine  to-day?" 

"In  behint  yon  auld  fail  dike, 
I  wot  there  lies  a  new  slain  knight; 
And  naebody  kens  that  he  lies  there, 
But  his  hawk,  his  hound,  and  lady  fair. 

"His  hound  is  to  the  hunting  gane, 
His  hawk  to  fetch  the  wild-fowl  hame. 
His  lady's  ta'en  another  mate. 
And  so  we  may  mak  our  dinner  sweet. 

"  Ye'll  sit  on  his  white  hause-bane. 
And  I'll  pike  out  his  bonny  blue  een; 
Wi'  ae  lock  o'  his  gowden  hair 
We'll  theek  our  nest  when  it  grows  bare. 

"  Mony  a  one  for  him  makes  mane. 
But  nane  sail  ken  where  he  is  gane; 
O'er  his  white  banes,  when  they  are  bare. 
The  wind  sail  blaw  for  evermair." 

Study 

How  does  the  story  of  the  two  songs  difler?  Are  the  ravens  needed 
in  the  story  or  are  they  introduced  because  the  beast  fable  can  always 
count  on  a  kindly  interest?  The  Three  Ravens  is  probably  the  only 
ballad  you  have  ever  heard  sung.  Can  you  tell  why  it  maintains 
its  popularity  as  a  song?  Is  it  on  account  of  the  story?  the  conceit? 
the  sentiment?  the  music  of  the  lines?  the  tune  to  which  it  goes? 
Compare  with  other  ballads. 

BONNY  BARBARA  ALLAN 

"...  a  third  class  of  ballads,  just  halting  and  trembling  on  the 
border  of  pure  song.  Here  belong  Barbara  Allan  and  Lady  Alice; 
while  the  pretty  sentiment,  the  long-range  sympathy,  of  Bessy  Bell 
and  Mary  Gray  have  converted  it  in  England  'into  a  nursery  rime.* 
'Ballad  or  song'  is  Professor  Child's  account  of  it.    These  ballads  of 


-4sl  Notes  and  Comment  245 

lyric  tendency  have  repetition,  but  not  of  the  incremental  and  dra- 
matic kind." — Gummere. 

The  ditty  first  mentioned  above  seems  to  us  somewhat  over- 
sentimental.  But  sung  by  an  actress  it  delighted  Samuel  Pepys  and 
sung  by  an  old  dairy-maid  moved  little  Oliver  Goldsmith  to  tears; 
and  it  may  therefore  claim  some  attention.  It  is  still  sung  in  Canada 
as  a  student  song. 

The  same  facile  refutation  of  Rosalind's  philosophy:  "Men  have 
died  from  time  to  time  and  worms  have  eaten  them,  but  not  for  love," 
underlies  Lord  Lovcl  (Child,  No.  75)  and  Lady  Alice  (No.  85).  Lady 
Alice  and  Lord  Lovel  were,  however,  guilty  of  philandering,  not 
cruelty. 

I,  I.  Martinmas:  November  11. 

4,  1-2.  Compare  the  refrain  of  Captain  Car  (page  97). 

4,  3.  Ye's:  you  shall. 

7,  I.  Raise:  rose.  Raise  is  Scotch;  the  English  form  is  used  in 
stanza  3. 

8,  I.  Compare  Hind  Etin,  stanza  3,  and  note. 

8,  2.  Dead-bell:  death-bell.  We  still  have  dead-march  and  have 
recently  formed  dead-line. 

Study 

Show  that  the  repetition  is  "not  of  the  incremental  and  dramatic 
kind." 

Note  the  curiously  halting  feminine,  or  double,  rimes,  if  rimes 
they  may  be  called. 

BESSY  BELL  AND  MARY  GRAY 

The  two  close  friends  whose  names  are  handed  down  to  us  in  "this 
little  ballad,  or  song,"  sought  to  escape  the  plague  that  raged  in  and 
around  Perth  in  1645  "and  a  year  or  two  following"  by  retiring  to 
Lednock,  several  miles  distant,  and  secluding  themselves  in  a  bower 
built  for  that  purpose. 

The  nursery  rhyme  referred  to  by  Gummere  in  our  note  on  Barbara 
Allan  has  two  stanzas,  the  first  practically  as  here  given,  the  second 
as  follows: 

Bessy  kept  the  garden  gate. 

And  Mary  kept  the  pantry; 
Bessy  always  had  to  wait. 
While  Mary  lived  in  plenty. 


246 


Notes  and  Comment  [Pp.  45- 


3.  Compare  SpenSj  stanzas  S-ii. 

3,  3.  Stronach  haugh:  this  should  be  Dranoch-haugh. 

3,  4.  "To  bask  in  the  sun." 

Study 

What  have  the  last  three  ballads  in  common?  What  previous  ballad 
comes  nearest  to  them  in  lyric  quality?  See  note  on  Bonnie  George 
Campbell  (page  27 ^i.). 

MINSTREL  AND  BROADSIDE  BALLADS 

The  ballads  we  have  studied  thus  far  show  many  marks  of  com- 
munal authorship  or  at  least  of  communal  singing  in  connection  with 
the  communal  dance.  We  have  thus  far  had  fewer  marks  of  the 
minstrel  addressing  an  audience  or  of  the  writer  for  the  broadside 
press.    We  shall  from  now  on  have  more,  especially  the  following. 

1.  An  introduction  giving  the  setting. 

2.  Comment,  especially  a  weak  "moral"  at  the  end. 

3.  Weak  fillers  or  stop-gaps. 

4.  Transitional  stanzas. 

5.  Narrative  stanzas. 

6.  Literary  touches,  i.  e.,  phrases  that  seem  to  have  flowed  from 
the  pen  and  not  risen  spontaneously  to  the  lips  of  anyone. 


KING  ESTMERE 

The  Three  Ravens,  Bonny  Barbara  Allan,  and  Bessy  Bell  and 
Mary  Gray  were  songs  rather  than  ballads.  King  Estmere  is  the  ballad 
that  approaches  nearest  to  the  character  of  the  verse  romances, 
"desultory  adventure-chronicles"  that  were  a  favorite  form  of  enter- 
tainment in  the  13th  and  14th  century. 

The  typical  form  of  a  romance  is  described  by  Ten  Brink  in  his 
History  of  Early  English  Literature:  "Subject-matter:  A  pair  of  lovers, 
persecuted  and  separated  and  undergoing  all  kinds  of  adventures, 
rescued  again  and  again  from  ever  recurring  dangers.  In  execution: 
Absence  of  motive  and  characterization,  the  large  part  played  by 
mere  chance,  a  soft  sentimentality  in  the  treatment  of  love,  and 
detailed  descriptions  of  beautiful  gardens,  fountains,  etc.  Among 
the  stock  incidents,  characters,  etc.,  may  be  noted  storms,  ship- 


-48]  Notes  and  Comment  247 

wrecks,  robbers  and  pirates  or  merchants  who  buy  and  sell  human 
flesh,  caves  in  which  refuge  is  taken,  etc." 

Young  Adler  has  perhaps  been  suggested  by  Ogier  or  Kolger,  the 
Danish  national  hero.  Read  in  Hans  Christian  Andersen's  Fairy 
Tales  the  beautiful  patriotic  fantasy,  "Holger  Danske."  The  identi- 
fication of  the  other  characters  is  more  doubtful.  But  the  relations 
are  to  Danish  rather  than  other  story. 

The  pages  of  the  Percy  Folio  which  contained  King  Estmere  were 
torn  out  and  lost.  The  version  as  printed  by  Percy  in  his  Reliques 
has  been  retouched  by  him. 

I.  A  t}T5ical  minstrel  opening. 

I,  3.  Brether:  brothers. 

4,  4.  Able:  of  suitable  rank  and  condition. 

6,  2-3.  The  more  natural  order  would  reverse  these  two  lines.  The 
somewhat  artificial  arrangement  here  is  not  ballad-like. 

8,  I.  Renisht  them:  harnessed  themselves  (i.  e.  put  on  their  armor), 
got  ready.  In  the  next  line  renisht  may  be  the  participial  adjective 
or  it  may  be  for  renish,  fierce,  fiery.  Perhaps  harnessed  in  line  i  and 
renish  in  line  2  should  be  read. 

10,  2.  See:  guard,  protect. 

10,  3.  Be:  are.  "There  be  land-rats  and  water-rats." — Shake- 
speare, Merchant  of  Venice,  i,  3,  23.  See  also  18,  3;  59,  4;  and  61,  4 
(where  the  older  plural  form  been  occurs). 

12,  2.  King  his:  king's.    "The  son  of  the  King  of  Spain." 

12,  4.  Doubt:  fear. 

13,  I.  Paynim:  pagan,  heathen.  Gummere  thinks  this  is  "surely 
Percy's  own  word" — i.  e.  that  he  used  it  in  touching  up  this  ballad; 
the  word  is  frequent  in  romance  and  was  taken  from  there  by  Spenser. 

13,  2.  Mahound:  JMahomet. 

15,  1-2.  This  is  medieval  etiquette.  In  the  Nibelnngenlied  Sieg- 
fried does  not  see  Kriemhilt  until  he  has  been  at  the  Burgundian  court 
some  time  and  has  conducted  a  war  for  her  brothers. 

16,  2.  Laced:  clad  (with  reference  to  laces  used  for  fastenings). 
Pall:  mantle,  then  fine  cloth. 

17,  I.  Talents:  either  clasps  or  ornaments,  or  in  general  wealth. 
Sec  Century  Dictionary.     Relative  subject  of  were  is  omitted. 

17,4.  "Shone  with  the  splendid  crystal."  Crystals  play  an  im- 
portant part  in  primitive  magic;  that  may  account  for  the  preference 
shown  a  merely  "semi-precious"  gem  here. 

19,  4.  Sped:  executed,  attended  to. 


248  Notes  and  Comment  [Pp.  49- 

22,  3.  King  his.  In  the  i6th  and  17th  century  his  was  frequently 
written  for  the  genitive  ending  -es.  The  whole  phrase  means  "the 
son  of  the  King  of  Spain." 

22,  4.  Doubt:  fear. 

23,  3.  To:  for,  as. 

28,  1-2.  A  commonplace,  usually  part  of  the  larger  commonplace 
beginning  as  in  Johnie  Cock,  stanza  20,  where  it  is  out  of  place. 

34.  We  should  expect  more  self-assertion  on  the  part  of  the  hero. 
His  dependence  on  a  more  energetic  and  resourceful  younger  brother 
is  not  without  parallels  in  ballads  and  romances. 

34,  2.  "  Counsel  must  come  from  thee." 

36,  I.  Western.  Western  may  imply  beyond  seas  and  so  strange, 
or  be  a  corruption  for  some  compound  of  wise  or  witch,  or  simply 
ornamental  (see  note  on  Young  Beichan,  stanza  13,  line  3). 

36,  2.  Gramarie:  grammar,  then  learning,  then  magic.  "All  learn- 
ing fell  under  suspicion,  till  at  length  the  very  grammar  itself  .  .  . 
gave  to  English  the  word  gramary." — Lowell,  cited  by  the  Oxford 
Dictionary.  The  present  use  of  both  gramary  and  its  cognate  glamour 
is  due  to  Scott  and  Percy  and  is  a  result  of  the  study  of  ballads  and 
other  medieval  literature. 

36,  3.  Learned  at:  went  to. 

36,  4.  Something:  somewhat. 

37.  What  part  does  this  herb  play  in  the  story? 

37,  3.  "The  color  of  anyone  who  is  fair"  (as  all  ballad  heroes  and 
heroines  are).    His  is  emphatic. 

39,  2.  North:  probably  ornamental  adjective,  see  note  on  36,  i 
above;  certainly  not  referring  to  the  north  as  the  abode  of  Satan  and 
his  fellows,  Milton,  Paradise  Lost,  v,  688-9,  Shakespeare,  /  Hetiry  VI, 
V,  3,  6,  Chaucer,  Friar's  Tale,  11 2-18 — all  deriving,  according  to 
Masson,  from  Isaiah,  xiv,  12,  13. 

39,  3.  Fain  of:  eager  for. 

41,  2.  And.    And  is  pleonastic,  but  gives  perhaps  some  emphasis. 

41,4.  Christian  tie :  Christendom. 

43,  3.  Proud  porter.  Compare  Young  Beichan,  stanzas  13-14,  and 
note. 

47,  1-2.  From  a  spiral  of  gold  worn  on  the  arm  kings  broke  off 
rings  to  reward  the  followers,  etc.  In  the  Bcowidf,  e.  g.,  the  king  is 
often  styled  ring-giver. 

47,  3.  Will  thee:  desire  thee,  ask  of  thee. 

48,  I.  Sore:  hard,  intently,  seriously. 


-56]  Notes  and  Comment  249 

48,  4.  Let:  hindered. 

49,  1-2.  Customary  in  medieval  times:  compare  50,  2-4.  Other 
instances  in  The  Lady  of  the  Fountain,  mentioned  under  Kemp 
Owyne,  and  in  Chaucer's  Squire's  Tale. 

51,  I.  Lither:  lazy  (and  mischievous). 
51,  4.  Subject  relative  omitted. 

53,  4.  Of  is  a  mere  expletive,  as  so  frequently  in  Norse  verse. 

54,  4.  Near:  probably  nearer  (the  old  meaning),  but  see  55,  6. 

56,  3.  Upstart:  started  up.  Our  adjective  upstart  is  of  different 
origin;  consult  dictionary. 

57,  3.  And:  if. 

57,  4.  Till:  lure,  entice. 

59,  3.  Noble:  a  coin  worth  a  third  of  a  pound. 

59,  4.  Rings :  arm-rings  or  hitching  rings? 

60,  3.  Fitt:  canto,  lay 

61,  Boasting  was  not  a  vice. 

61,  4.  Been:  are;  see  note  on  10,  3. 

62,  3.  Body:  person,  as  in  anybody,  somebody,  etc.;  my  body,  his 
body,  etc.,  frequently  for  I,  he,  etc.  "My  little  body  is  aweary  of  this 
great  world." — Shakespeare,  Merchant  of  Venice,  i,  2,  i.  Fair  (body) 
is  here  not  an  expletive  (epic  adjective).     Why?     See  note  on  37,  3. 

65,  1-2.  Such  self-consciousness  is  rare  in  ballads,  and  is  here 
doubtless  due  to  romance— or  Percy. 
67,  4.  Can:  did;  so  also  in  68,  i. 

Stxidy 

Of  the  features  of  romance  noted  by  Ten  Brink,  which  do  you  find 
in  King  Estmere?    Why  is  it  nevertheless  a  ballad? 

Illustrate  from  King  Estmere  the  points  made  on  page  246.  Com- 
pare with  King  John  mid  the  Abbot,  where  the  hand  of  Percy  is  also 
evident. 

Characterization.  Are  characters  described  in  any  of  the  pre- 
vious ballads?  in  many?  May  you  expect  the  "epic  process,"  that 
is  the  making  more  and  more  of  the  story,  to  increase  the  amount  of 
character  description? 

YOUNG  BEICHAN 

The  story  of  this  ballad  is  wide-spread.  It  has  several  times  at- 
tached itself  to  historical  personages.  Thus  a  legend  of  Gilbert 
Beckct,  father  of  the  famous  Thomas  Bcckot,  tells  of  his  imprisonment 


i^O  Notes  and  Comment  [Pp.  56- 

among  the  Saracens  and  his  escape.  The  Saracen  princess,  whom  he 
had  instructed  in  Christianity,  sets  out  to  find  him,  knowing  only- 
two  EngHsh  words:  London,  Gilbert.  She  reaches  London,  is  found 
and  recognized  by  Gilbert's  servant,  Richard,  is  cared  for,  baptized, 
and  married  to  Gilbert.  History  adds  a  disconcerting  postscript  to 
the  legend:  Gilbert's  wife  was,  like  himself,  a  Norman!  The  influence 
of  the  legend  on  our  ballad  is  seen  in  the  name  of  our  hero,  Beichan, 
Bicham,  Bekie,  etc.;  probably  also  in  the  baptism  of  Susie  Pye,  and 
in  certain  details  of  other  versions. 

In  most  versions,  as  in  ours,  Susie  Pye  (or  whatever  she  is  called) 
sets  out  to  find  Beichan  because  she  longed  for  her  love.  In  one 
version  she  has  a  premonition  that  all  is  not  right.  In  two  other 
versions  she  is  warned,  by  a  fairy  or  by  Billy  Blin,  a  household  sprite 
who  appears  in  some  half  dozen  difi'erent  ballads.  The  cause  of 
Beichan's  inconstancy  is  a  magic  drink  (as  in  the  tragic  saga  of 
Siegfried  and  Brunhild),  but  this  important  part  of  the  story  has  been 
lost  in  the  English  versions. 

There  are  numerous  versions  of  the  ballad,  nearly  all  Scotch.  But 
a  Cockney  version  of  the  early  nineteenth  century.  The  Loving 
Ballad  of  Lord  Batenian,  interested  Dickens  and  Trollope  (whose 
Mr.  Crawley  makes  a  Greek  metrical  version)  and  was  illustrated  by 
George  Cruikshank. 

4,  3.  In  several  versions  she  is  attracted  by  the  prisoner's  song  of 
lamentation,  which  itself  has  three  different  versions.  The  love 
affair  of  Beichan  and  Susie  has  many  parallels  in  romance  and  at 
least  one,  more  or  less  close,  in  history:  the  courtship  of  James  I  of 
Scotland  and  Jane  Beaufort. 

5,  4.  Free:  noble. 

7,  2.  White  money:  silver. 

II,  4.  The  minstrel  "I"  never  strikes  a  really  personal  note. 

13,  3.  Gay:  a  standing  epithet  (epic  adjective).  Such  epithets  often 
Occur  where  they  do  not  fit  the  situation.  Find  other  examples, 
e.  g.  in  stanza  14  of  this  piece. 

IS>  3-  Won  up:  win  up,  get  up;  compare  win  out.  The  original 
meaning  of  win  is  fight,  then  struggle,  then  gain. 

19,  2.  A  similar  commonplace  to  denote  great  excitement  is  kicking 
over  the  table. 

21,  1-2.  A  commonplace;  compare  Johnie  Armstrong,  stanza  11; 
also  The  Douglas  Tragedy,  stanza  4. 

23,  2.  Fotmtain  stane:  font-stone,  baptismal  font. 


-6il  Notes  and  Comment  2^1 

Study 

Young  Beichan  should  be  compared  with  Hind  Horn,  both  for  the 
story  and  for  the  difference  between  the  older  lyric  and  the  later  epic 
type  of  ballad.  Both  ballads  connect  with  romance  and  should  be 
tested  as  suggested  in  the  note  and  study  on  Ki)ig  Eslnicre. 

Commonplace.  Epic  adjective  (standing  epithet) .  Find  examples 
in  other  ballads. 

HIND  HORN 

The  story  is  the  same  as  that  of  three  romances,  two  in  English 
and  one  in  French,  but  it  is  doubtful  if  either  ballad  or  romance  has 
borrowed  one  from  the  other. 

The  older  of  the  English  romances  is  called  King  Horn.  It  was 
written  about  1270  and  is  the  oldest  and  best  of  the  English  verse 
romances. 

"The  long  absence,  the  sudden  return,  the  appearance  under  dis- 
guise at  the  wedding  feast,  and  the  dropping  of  the  ring  into  a  cup 
of  wine  obtained  from  the  bride  .  .  .  repeat  themselves  in  a  great 
number  of  romantic  tales." — Child. 

1,  2.  Hind:  youth,  childe  (Childe  Harold,  Childe  Roland). 

2,  2.  Jean  is  a  t>pical  ballad  name.  In  the  romances  the  heroine's 
name  is  Rimenhild. 

3,  2.  The  "three  living  (another  version:  singing)  larks"  "are  to 
be  taken  as  curiosities  of  art."  (Sargent-Kittredge) . 

5,  2.  This  isn't  exactly  what  happens  when  the  ring  does  grow  dim. 

12,  I.  Rung:  staff.  The  exchange  of  garments  is  found  also  in 
some  Robin  Hood  ballads,  with  the  result  that  some  stanzas  from 
these  Robin  Hood  ballads  have  unwarrantedly  been  taken  over  into 
two  versions  of  Hind  Horn.  Association  of  ideas  had  the  freest  play 
in  the  ballad-making  age. 

13,  2.  Ballad  heroes  and  heroines  are  "dazzlingly  fair."  See  note 
on  ballad  splendor.  The  Twa  Sisters,  stanzas  20-22. 

18.  The  regulation  three  questions,  the  last  of  which  is  the  one 
that  counts. 

Study 

Has  Hind  Horn  any  of  the  romance  features  found  in  Estmere  or 
Beichan?  Compare  it  for  ballad  structure  with  The  Cruel  Brotticr 
and  The  Twa  Sisters.  Are  there  any  indications  that  it  has  passed 
through  minstrel  hands?    Compare  the  story  with  that  of  Beichan. 


2^2  Notes  and  Comment  [Pp.  6i- 


THE  GAY  GOSHAWK 

In  another  ballad,  Willie's  Lykc-wake  (Child,  No.  25),  it  is  the  lover 
who  feigns  death  in  order  to  win  his  love.  Usually  however,  as  here, 
it  is  the  lady.    So  also  in  Shakespeare's  Romeo  and  Juliet. 

In  some  versions  the  ruse  is  suspected.  Hot  lead  is  dropped  on 
cheek,  chin,  etc.,  to  revive  the  lady.  She  suffers  all  without  a  quiver, 
and  apparently  without  evil  results. 

In  Buchan's  version  the  goshawk  has  become  a  parrot  as  "by 
far  a  more  likely  messenger  to  carry  a  love-letter  or  deliver  a  verbal 
message."  This  is  but  one  of  many  appearances  of  Buchan's  parrot. 
His  name  has  become  a  byword  for  sophistication  through  want  of 
understanding,  just  as  Mrs.  Brown's  name  is  a  sterling-mark  of 
genuine  tradition. 

Scott's  version,  which  is  based  upon  the  one  here  given,  adds  the 
following  lyrical  stanzas  at  the  beginning. 

"  O  waly,  waly,  my  gay  gos-hawk, 

Gin  your  feathering  be  sheen!  " 
"  And  waly,  waly,  my  master  dear. 

Gin  ye  look  pale  and  lean! 

"  O  have  ye  tint  at  tournament 

Your  sword,  or  yet  your  spear? 
Or  mourn  ye  for  the  southern  lass. 
Whom  you  may  not  win  near?  " 

"  I  have  not  tint  at  tournament 

My  sword,  nor  yet  my  spear. 
But  sair  I  mourn  for  my  true-love 

Wi'  mony  a  bitter  tear. 

"  But  weel's  me  on  ye,"  etc. 

I,  I.  Goshawk:  a  large  hawk,  so  called  because  flown  at  geese. 

1,  2.  Flee:  fly.  May  be  Scotch  pronunciation  of  fly,  as  in  stanza  11 
die  rhymes  with  three;  but  confusion  of  flee  and  fly  is  common,  com- 
pare 21,  I. 

2,  I.  True-love:  lady  love,  lover. 

2,  3.  Couth:  intelligence,  word,  here  perhaps  sound. 
4,  2.  Bowing.    Compare  bowin  in  7,  2:  both  may  be  bowing,  bend- 
ing, or  both  may  be  bowen,  bent. 


-6sl  Notes  and  Comment  253 

7,  3.  She  set:  he  (the  bird)  sat. 

8,  I.  Maries:  maids,  just  as  we  use  Bridget  as  a  common  noun 
meaning  kitchen-maid. 

8,  3.  Shot-window:  loophole  for  archers,  then  also  a  lookout. 

9,  2.  The  streen:  yestreen,  yester  even.  Apparently  due  in  part 
to  the  confusion  of  J?  (  =  th)  and  y,  Y  being  used  for  both  in  black- 
letter;  ye  editor  for  the  editor  shows  the  same  confusion  working 
the  other  way. 

9,  4.  Sen:  sent. 

II,  4.  Die:  compare  note  on  i,  2. 

13,  2.  Bridal  in  itself  meant  bride-ale,  then  the  festival  at  which 
ale  was  served  in  the  bride's  name. 

14,  3.  Boon:  favor,  properly  prayer,  request;  in  the  sense  of  favor 
the  word  has  been  influenced  by  Latin  ho)ium. 

16,  3.  Southin:  southern,  English. 

17.  A  commonplace  found  in  several  ballads. 

17,  I.  Firstin.    See  note  on  The  Twa  Sisters,  27,  r. 

17,  2.  Gar  the  bells  be  rung:  have  the  bells  rung. 

17,  4.  Mess:  mass. 

19,  2.  Coud:  could;  could  gets  its  1  from  would  and  should. 

19,  3.  Sleepy  draught:  sleeping  potion. 

We  will  give  you  sleepy  drinks. 

Shakespeare,  Winter  s  Tale,  \,  i,  15. 

Chaucer  calls  Mercury's  caduceus  "sleepy  yard"  (Knight's  Tale, 
hne  529). 

22,  3-4.  Like  23,  3-4,  a  commonplace;  both  occur  in  one  version  of 
Willie's  Lyke-wake,  the  ballad  referred  to  above. 

22,3-4.  The  tae  .  .  .  the  tither:  southern  English  the  tone  .  .  . 
the  tother  for  that  one  .  .  .  that  other,  the  one  .  .  .  the  other. 

27,  I.  Sheave:  slice. 

27,  4.  "  It  is  now  fully  nine  days."  A  curious  telescoping  of  phrase. 
That  it  may  have  been  in  actual  use  and  not  merely  a  scribal  blunder 
is  likely  enough;  compare  Latin  "before  the  tenth  day  Kalends  of 
May"  for  "ten  days  before  the  Kalends  of  May." 

28,  3-4.  Scott's  version  has,  more  pointedly: 

I  trow  you  wad  hae  gien  me  the  skaith, 
But  I've  gien  you  the  scorn. 


254  Notes  and  Comment  [Pp.  65- 

Study 

Epic  adjective:  gay,  fair,  true  (true-love,  compare  "her  false  true- 
love"  in  Young  Bcnjie,  Child,  No.  86),  bowing,  dear,  tender,  red 
(red  gold),  fine.    Which  are  the  best  examples? 

What  ballad  characteristics  in  stanzas  11-12,  especially  in  the 
second  line  of  each?  4  and  7?  24-25  compared  with  17-18?  Other 
examples. 

Commonplaces:  four-and-twenty  (compare  Tlie  Jew's  Daughter), 
seven  (compare  The  Douglas  Tragedy,  The  Laily  Worm,  Thomas 
Rymer),  the  series  in  stanzas  10,  17-18,  24-25  (compare  The  Twa 
Sisters,  stanzas  26-28,  and  find  other  examples). 

Dialogue.  What  essential  of  the  story  would  be  lost  if  only  the 
dialogue  were  retained? 

GET  UP  AND  BAR  THE  DOOR 

The  last  stanza  of  The  Cay  Goshaivk  indicates  the  theme  of  the 
few  humorous  ballads  we  have:  the  discomfiture  of  somebody.  These 
ballads  thus  belong  to  the  larger  class  of  wit-contest  and  riddle  ballads. 

Though  rare  in  balladry,  such  anecdotal  stories  are  very  frequent 
in  other  forms  of  popular  literature.  They  represent  nowadays  the 
only  kind  of  story  that  still  passes  from  mouth  to  mouth;  other  kinds 
are  relegated  to  print. 

1,  I.  Martinmas:  November  11  (see  note  on  The  Wife  of  Usher's 
Well,  5,  i).  It  was  the  time  of  slaughtering  animals  and  salting  the 
flesh  for  winter  use,  hence  a  "gay  time"  for  the  goodwife,  who  had 
her  hands  full  boiling  puddings  (i.  e.,  sausages)  white  and  black. 

2,  2.  Floor:  apparently  room,  like  the  Germa.n  flur,  entry;  passage. 

3,  I.  Hussyfskap:  "housewife-ship,"  housewifery,  housework. 
What  is  the  etymology  of  hussy? 

3,  4.  For  me:  for  all  of  me,  so  far  as  I  am  concerned. 

4,  I.  Paction:  agreement. 
4,  3.  Construe  word. 

6,  4.  For  barring:  for  fear  of  ha\ang  to  bar. 

9,  I.  Nae  water:  no  hot  water  for  shaving. 

9,  3.  "What's  the  matter  with  the  pudding  water?" 

Study 

Slight  use  of  dialogue,  almost  pure  narrative.  Point  out  ballad 
characteristics.     Are  they  many  or  few?     Are  the  first  and  third 


-67]  Notes  and  Comment  255 

lines  of  each  stanza  (see  p.  xiii)  more  important  than  the  second  and 
fourth?  How  many  Hnes  are  mere  stop-gaps  or  fillers?  How  about 
transitions  (leaping  and  lingering)?  Repetition?  Compare  in  all 
these  respects  with  one  of  the  first  three  ballads  in  this  book.  Sum- 
marize the  differences  thus  noted  between  older  and  more  recent 
ballads.  But  note  in  the  present  ballad  that  the  Scotch  words  occur 
chiefly  in  dialogue,  indicating  that  there  was  an  older  leaping  and 
lingering,  dialogue  ballad  on  the  subject  later  touched  up  by  the 
addition  of  narrative  stanzas.  In  Macmath's  version,  "from  the 
singing  of  Miss  Jane  Webster,"  this  difference  of  dialect  is  not  found, 
there  is  a  refrain,  and  the  following  group  of  four  stanzas  is  more 
in  the  old  ballad  manner  (why?) . 

"0  whether  is  this  a  rich  man's  house. 
Or  whether  is  it  a  puir?  " 
But  never  a  word  would  the  auld  bodies  speak. 
For  the  barring  o'  the  door. 

First  thej'  bad  good  e'en  to  them, 

And  syne  they  bad  good  morrow; 
But  never  a  word  would  the  auld  bodies  speak. 

For  the  barring  o'  the  door. 

First  they  ate  the  v/hite  puddin' 

And  syne  they  ate  the  black. 
And  aye  the  auld  wife  said  to  hersel, 
"May  the  deil  slip  down  wi'  that!  " 

And  next  they  drank  o'  the  liquor  sae  strong, 
And  syne  they  drank  o'  the  yill: 
"Now  shice  we  hae  got  a  house  o'  our  ain, 
I'm  sure  we  may  tak  our  hll." 

Compare  with  the  riddle  ballads. 


KATHARINE  JAXFARIE 

This  ballad  furnished  Scott  the  story  of  his  You>ig  Lochinvar  and 
the  name  of  the  hero  as  well.  In  two  versions  the  hero  is  young 
Lochinvar,  in  four  others  plain  Lochinvar.  In  two  further  versions 
liowever  Lochinvar  is  the  name  not  of  the  lover  but  of  the  bridegroom. 


256 


Notes  and  Comment  [Pp.  67- 


Our  version  seems  to  belong  with  these  last :  for  we  have  in  one  version 
the  corruption  Lochinton,  and  Faughanwood  (for  *  Locliinwood)  is 
a  further  corruption. 

The  versions  differ  considerably  also  in  the  details  of  the  story; 
as  to  whether  the  bride  went  willingly  or  not,  as  to  the  lover's  inten- 
tion in  coming  to  the  wedding,  as  to  whether  he  came  alone  or  well 
attended,  etc.  More  marked  than  the  differences  is  the  vagueness  of 
most  of  the  versions  concerning  such  capital  points. 

Of  the  Norse  ballad  of  Magnus  Algots(fn  Child  says:  "The  heroine 
of  this  ballad,  an  historical  lady  of  high  rank,  was  the  third  in  a 
regular  Hne  to  be  forcibly  carried  off  by  a  lover.  The  date  is  1 287. 
Her  mother  and  her  grandmother  were  taken  by  the  strong  hand  out 
of  a  convent  in  1245  and  about  1210;  these  much  against  their  will, 
the  other  not  so  reluctantly,  according  to  ballads  in  which  they  are 
celebrated,  for  curiously  enough  each  has  her  ballad." 

I,  I.  Leeft:  hved. 

I,  I.  Weel-far'd  may:  well-favored  (good-looking)  lass. 

I,  2.  The  refrain-like  O  goes  of  course  through  the  remaining 
stanzas  as  well. 

1,  4.  Courtit:  courted. 

2,  2.  Lawland  border:  Scotch  lowlands  near  the  English  border; 
compare  4,  2  and  The  Gay  Goshawk,  stanza  3,  15,  etc.  During  the 
middle  ages  there  was  constant  fighting  on  this  border.  We  shall 
presently  have  four  ballads  deaUng  with  this  border  warfare  and 
raiding.  Look  for  them.  See  also  note  on  the  Eatable  land  under 
Joh?tie  Armstrong. 

2,  4.  "Handsomely  mounted,"  "riding  a  fine  horse  well." 

3,  1-3.  "Relative  climax"  as  in  The  Cruel  Brother,  stanzas  5-6, 
etc.,  and  The  Hangman's  Tree  (Introduction,  page  xiv^. 

3,  2.  Same  as  5,  2. 
3,  4.  Win:  won. 

5,  4.  Waddin'  e'en:  the  eve  of  her  wedding,  as  in  7, 6  the  wedding 
(it  is  said)  is  to  be  the  morn,  i.  e.,  the  next  day. 

6,  4  (and  10,  4) .  Relative  clause,  "Who  was  to  have  been  the 
bridegroom." 

7,  5.  Note  the  plural  possessive  here  and  in  13,  3  and  compare 
note  on  bridal,  Tlie  Gay  Goshawk,  13,  2.  The  bride  was  the  center 
of  the  feast,  the  person  in  whose  honor  all  assembled,  whom  all  there- 
fore claimed. 

8,  4.  Horse:  mount.    Is  there  a  double  meaning  in  the  hne? 


-69]  Notes  and  Comment  257 

9,  2.  Ee:  eye;  but  why  the  brim  of  a  goblet  should  be  called  an 
eye  is  not  dear;  perhaps  from  "spiUing  tears." 

11,  1-2.  A  commonplace  found  in  four  other  ballads  and  altogether 
in  over  twenty-five  versions. 

12,  2.  An  ye  may:  if  you  can. 

13,  I.  Other  instances  of  this  conventional  number?  Explain  its 
use  in  14,  3. 

13,  3.  The'  wad:  they  would. 

15,  I.  Cadan  bank.  Caddon  Bank  is  a  difficult  pass  (and  therefore 
easy  to  defend)  on  the  upper  Tweed,  opposite  Innerliethen  and  be- 
tween Peebles  and  Galashiels. 

15,  2.  Brae:  slope.  Quite  generally  associated  with  bank,  as  here 
(compare  Thomas  Rymer,  stanza  i),  or  in  the  alliterative  phrase, 
"o'er  bank  and  brae,"  "Ye  banks  and  braes  o'  bonny  Doon,"  etc. 

15,  4.  Tells  what  they  made  the  piper  play — quite  in  line  with  the 
last  two  stanzas.  These  are  an  English  "squeal;"  a  Scotch  taunt 
would  be  better. 

17,  I.  Version  A  has  a  racier  Hne: 

They  hark  ye  up  and  settle  ye  by. 

SxtTDY 

Make  a  list  of  ballad  characteristics.  Do  you  find  these  charac- 
teristics in  Scott's  Lochinvar  (page  15S)? 

Compare  the  story  with  that  of  The  Douglas  Tragedy.  Do  you  see 
traces  of  the  old  tragic  ending?  Point  out  certain  likenesses  to  the 
humorous  ballads;  to  the  Bonnie  Lass  oj  Anglesey. 


BEWICK  AND  GRAHAM 

Our  tradition,  according  to  Child,  does  not  go  back  of  certain  stall 
copies  of  the  early  part  of  the  eighteenth  century.  "There  was  no 
doubt  an  older  and  better  copy.  ...  But  it  is  a  fine-spirited  ballad 
as  it  stands,  and  very  infectious." 

As  an  example  of  a  broadside  or  stall  copy  title,  like  Lowell's  "old- 
fashioned  title-page  which  presents  a  tabular  view  of  the  volume's 
contents,"  we  reprint  the  following. 

"The  Song  of  Bewick  and  Grahame:  containing  an  account  how 
the  Lord  Grahame  met  with  Sir  Robert  Bewick  in  the  town  of 


258  Notes  and  Comment  [Pp.  69- 

Carlisle,  and,  going  to  the  tavern,  a  dispute  happened  betwixt  them 
which  of  their  sons  was  the  better  man;  how  Graharoe  rode  away  in 
a  passion,  and,  meeting  with  his  son,  persuaded  him  to  go  and  fight 
young  Bewick,  which  he  did  accordingly;  and  how  it  prov'd  both 
their  deaths." 

"Two  generations  have  not  elapsed  since  the  custom  of  drinking 
deep  and  taking  deadly  revenge  for  slight  offences  produced  very 
tragical  events  on  the  border;  to  which  the  custom  of  going  armed  to 
festive  meetings  contributed  not  a  little." — Scott.  Scott  thinks  this 
ballad  contains  "probably  the  very  latest  allusion  to  the  institution 
of  brotherhood  in  arms,  which  was  held  so  sacred  in  days  of  chivalry." 
But  see  Kipling's  Ballad  of  East  and  West,  lines  79-83. 

1,  3.  In  arms.  Scott's  version  has  arm  in  arm.  But  the  usual 
meaning,  armed,  may  be  intended  even  though  not  called  for  by  the 
story  (see  note  on  2,  4). 

2,  4.  Unless  this  line  means  "the  best  living  in  our  country,"  it  is 
merely  one  of  the  several  weak  and  perhaps  corrupted  hues  found 
in  our  ballad. 

3,  3.  Buckler:  small  round  shield  with  a  raised  knob  ( =  buckle) 
at  center. 

4,  I.  Two  bold  brethren.    See  note  on  14,  4. 

4,  4.  Crack'd:  bragged,  "defied,  challenged"  (Child). 

4,  4.  Border-side.    See  note  on  Katharine  Janfarie,  2,  2. 

5,  I.  Bad:  deficient  in  worth. 

5,  I.  Lad:  person  of  low  birth  or  station.  The  internal  rime  is 
more  usual  in  the  third  hne;  how  is  it  here? 

5,  2.  Bully:  close  friend.  Compare  Bully  Bottom,  Shakespeare's 
Midsummer  Niglit's  Dream,  and  note  on  14,  4. 

6,  3.  He's:  he  shall. 

8,  2.  Compare  48,  2.    The  index  in  Child  has  thirty-five  references 
for  this  "epic  number." 
8,  4.  Wantonly:  in  high  dudgeon. 

10,  4.  "That  you  took  no  heed  of  me." 

11,  4.  Baffled:  disgraced,  held  up  to  public  scorn.  The  original 
meaning  of  baffle  will  be  clear  from  Spenser's  Faerie  Queene,  VI,  vii, 
xxvii: 

And  after  all  for  greater  infamie, 
He  by  the  heels  him  hung  upon  a  tree, 
And  baffuld  so,  that  all  which  passed  by 
The  picture  of  his  punishment  might  see. 


-76]  Notes  and  Comment  259 

Usually  however  the  victim  was  hung,  heels  up,  only  in  effigy. 

14,  4.  "With  a  man  who  is  my  sworn-brother."  Sworn-brother- 
hood was  in  the  middle  ages  a  tie  closer  than  that  of  blood.  "By  the 
old  blood-brotherhood  [=  sworn-brotherhood],  and  later  forms  of  it, 
it  was  disgraceful  for  one  of  a  pair  to  survive  the  other,"  says  Gum- 
mere  anent  stanza  19.  Allusions  in  Chaucer's  Knlglifs  Tale  (Dryden's 
Palamon  and  Arcite)  and  Shakespeare's  Henry  V,  ii,  i.  Compare  also 
Ballad  of  East  and  West,  lines  79-83. 

15,  I.  Limmer:  base,  low, 

15,  I.  Loon:  fool,  low-bred  person  (com.pare  antithesis  lord  nor 
loon  in  Battle  of  Olterburn,  stanza  32,  and  Captain  Car,  stanza  13). 
15,  2.  Stand:  make  a  stand. 

15,  4.  "Here  is  my  glove  as  a  challenge  to  make  sure  that  thou 
shalt  fight  me." 

16.  Father  challenges  son.  The  latter  tries  by  a  diplomatic  stroke 
to  make  it  possible  for  both  to  ignore  the  incident. 

20.  The  tragic  conflict  succinctly  stated. 
22,  I.  Plate-jack:  coat  of  plate  armor. 
22,  4.  "Oh,  but  didn't  he,  etc.!" 

24,  I.  Minstrel  or  broadside  transition.    Find  another  example. 

25,  4.  Close:  court-yard.    Pronounce. 

26,  4.  Lee:  meadow. 

27,  I.  Yon:  that  one. 

29,  2.  Let  me  be:  let  me  alone,  spare  me  the  thought. 

32,  2.  Let  us  be:  let  us  have  done  with. 

32,  4.  Agree:  reconcile  to  each  other. 

33,  3.  Trow:  beheve. 

35,  2.  Same  as  32,  2. 

36,  2.  Parse. 

37,  2.  In  what  sense  can  they  be  sworn-brethren  if  they  fight, 
though  they  have  sworn  to  hold  each  other  dearer  than  life?  What 
is  the  tragic  conflict  here? 

38,  4.  Lap:  leapt. 

38,  4.  Wantonly:  briskly,  alertl}-,  with  spirit  and  determination. 

40,  I.  Harness:  armor. 

43,  I.  Ackward:  awkward,  back-handed,  therefore  unlookcd  for 
and  so  effective,  as  also  in  Robin  Hood  and  Guy  of  Gisbxirn,  stanza  /]o, 
and  Robin  Hood  and  the  Poller,  stanza  17. 

45,  I.  Horse:  mount, 

47,  4.  Rime? 


26o  Notes  and  Comment  [Pp.  76- 

48,  I.  Moody-hill:  hill  of  mould,  mound  of  earth. 

50,3.  "Could  ye  not  have  drunk,"  "have  letten"  in  next  line, 
and  "he  would  have  guarded"  in  55,  4:  have  was  weakened  to  a  and 
then  dropped.  Compare  our  colloquial  expression,  "I  like(d)  to 
died." 

51,  2.  Parse  pray.    Accent  of  bury? 

52,  4.  Sc.  maen  makes  a  better  rime. 

54,  2.  Block:  bargain.  "I  have  'had  the  worse  in  a  bargain.'" 
(Child.) 

55,  I.  Ladderdale:  Lauderdale. 

56,  Such  comments  are  frequent  at  the  close  of  minstrel  or  broad- 
side ballads.    Compare  note  on  24,  i. 

56,  4.  Were  all  the  blame:  bore  all  the  blame. 

Study 

Child's  theory  of  this  ballad  (see  head-note  above).  Point  out  old 
ballad  features  on  the  one  hand.  On  the  other  collect  the  minstrel 
and  broadside  marks,  such  as  noted  in  notes  on  2,  4;  24,  i;  and  56. 
Discuss  the  theory. 

Compare  with  King  Estmere  as  a  story.  Which  has  the  more 
closely  knit  plot? 

Compare  the  tragic  conflict  with  that  in  Edward.  Which  ballad 
is  clearer?    Which  more  torrifjdng? 


YOUNG  WATERS 

This  ballad  has  a  literary  flavor.  The  "many  a  well-fa vor'd  man" 
and  the  "wily  lord"  are  characterizations  strange  to  balladry, 
the  queen's  excuse  is  too  subtle,  and  the  closing  sentence  is  too  epi- 
grammatic. But  the  ballad  marks  are  there,  too.  Stanzas  2  and  4 
are  ballad  commonplaces,  and  the  lavish  display  of  gold  and  silver  in 
stanzas  3  and  4  is  ballad-like.  Stanza  7  suggests  a  stanza  found  in 
most  versions  of  Young  Beichan.  In  stanzas  10,  11  and  12,  13  and  14 
the  student  can  point  out  capital  marks  of  ballad  style. 

Stanzas  11  and  12  constitute  a  "last  goodnight."  Such  "last  good- 
nights"  are  a  common  theme  in  ballads.  The  "last  goodnight"  was 
particularly  taken  up  by  the  broadsides  and  there  usually  consisted 
of  the  alleged  confession  of  some  murderer.  Another  example  in  our 
collection  is  in  Jock  0'  the  Side,  stanzas  20-24.    Lord  Maxwell's  Last 


-79]  Notes  and  Comment  261 

Goodnight  (Child,  No.  195)  suggested  to  Byron  the  goodnight  at  the 
beginning  of  Childc  Harold. 

I,  2.  The  round  table  had  no  "head"  and  was  therefore  used  for 
occasions  where  social  distinctions  were  to  be  overlooked.  The  word 
also  means  tournament,  and  that  may  be  the  meaning  here. 

1,  3.  A':  perhaps  for  on. 

2,  2.  Dale  and  down:  valley  and  hill. 

4,  I.  Gowden-graith'd:  with  golden  trappings. 

4,  2.  Siller-shod:  shod  with  silver. 

6,  I.  Laird:  Scotch  for  lord,  but  in  rank  more  nearly  equivalent 
to  the  EngHsh  squire.    The  antithesis  of  laird  and  lord  is  frequent. 

9,  4.  Die.    Rime? 

II,  I.  Stirling.  Stirling,  thirty  odd  miles  up  the  Forth  from 
Edinburgh,  is  one  of  the  oldest  of  Scotch  towns  and  was  long  the 
royal  residence.  The  last  canto  of  Scott's  Lady  of  the  Lake  plays  in 
Stirling  Castle. 

II,  2.  But  and:  but  also. 

II,  2.  Weet:  wet. 

13,  I.  Heiding-hlll:  place  of  execution, 

13,  2.  Craddle:  cradle. 

Study 

Compare  with  Bewick  and  Graham  as  regards  use  of  dialogue,  leap- 
ing and  Ungering,  and  consistency  of  plot. 

One  difference  between  earlier  (communal)  ballads  and  later  bal- 
lads, especially  broadsides,  is  that  the  former  treat  of  matters  in 
which  the  ballad  folk  are  themselves  concerned,  the  latter,  like 
romances,  are  for  entertainment  merely  and  tend  toward  sensational- 
ism. Can  you  refer  Young  Waters  and  Bewick  and  Graham  clearly 
to  either  of  these  types,  or  are  they  transition  forms  of  story  as  well 
as  of  narrative  method? 


THE  BATTLE  OF  OTTERBURN  AND  THE  HUNTING  OF 
THE  CHEVIOT 

No  event  of  the  Border  is  so  widely  known  as  Chevy  Chase,  and 
this  fame  is  mainly  due  to  the  two  ballads  which  follow  herewith. 
Sidney,  in  his  Apologie  for  Poelrie,  says:  "Certainh--  I  must  confesse 
my  own  barbarousnes,  I  never  heard  the  olde  song  of  Percy  and 
Duglas,  that  I  found  not  my  heart  mooved  more  then  with  a  trumpet; 


262  Notes  and  Comment  [Pp.  79- 

and  yet  is  it  sung  but  by  some  blinde  crouder  [i.  e.,  fiddler],  with  no 
rougher  voyce,  then  rude  stile."  Ben  Jonson  would  rather,  so  Addi- 
son informs  us,  have  been  the  author  of  Chevy  Chase  than  of  all  his 
works.  Addison  praised  our  second  ballad,  which  he  knew  only 
in  an  inferior  broadside  version,  in  two  papers  in  The  Spectator,  and 
declared  it  to  be  the  favorite  ballad  of  the  common  people. 

Historians  even  have  not  escaped  the  infection.  After  England 
in  1346  had  gained  a  slight  advantage  over  Scotland  and  salved  the 
smart  of  Bannockburn,  "the  struggle,"  Green  says,  "died  down  on 
both  sides  into  marauding  forays  and  battles,  like  those  of  Otterburn 
and  Homildon  Hill,  in  which  alternate  victories  were  vron  by  the 
feudal  lords  of  the  Scotch  or  English  border.  The  ballad  of  '  Chevj^ 
Chase'  brings  home  to  us  the  spirit  of  the  contest,  the  daring  and 
defiance  which  stirred  Sidney's  heart  'more  than  with  a  trumpet.'" 
And  the  Britannica  says:  "In  August  1388  Douglas  led  the  famous 
raid  as  far  as  Alnwick  castle,  which  culminated  in  the  battle  of 
Otterburn,  fought  by  moonlight.  Here  Douglas  fell  in  the  thickest 
of  the  melee,  but  his  death  was  concealed  and  Henry  Percy,  with 
many  other  English  knights,  were  captured  and  held  to  heavy  ransom 
(15th  of  August  1388).  These  battles  were  fought  in  the  spirit  of 
chivah}^,  and  were  followed,  in  1389,  by  a  three  years'  truce." 

A  contemporary  account,  full  and  detailed,  is  given  by  Froissart, 
the  famous  French  chronicler.  From  him  Scott  drew  his  account  in 
The  Tales  of  a  Grandfather. 

Percy  is  the  Hotspur  of  Shakespeare's  Henry  IV. 

The  Battle  of  Otterburn 

Otterburn  is  about  half-way  between  Newcastle  and  the  Cheviot 
hills. 

I,  I.  Lammas:  "loaf-mass,"  i.  e.,  festival  of  the  wheat-harvest. 
The  date,  August  i,  is  a  quarterday  in  Scotland  and  a  half-quarterday 
in  England.  August  i  old  style  would  now  be  August  14,  which  is 
just  before  the  battle,  on  the  19th  (also  given  as  the  15th  and  the 
9th). 

I,  2.  Muir-men:  men  of  the  moors  or  swampy  fields. 

I,  2.  Win:  "wind,"  i.  e.,  dry  or  season. 

I,  3.  Boun'd:  made  or  got  ready.  We  still  use  the  past  participle, 
bound  for  home,  etc. 

I,  4.  Drive  a  prey:  "take  a  prey"  (version  A),  make  a  raid  for 
plunder. 


-8i]  Notes  and  Comment  263 

2.  A  great  many  names  of  persons  and  places  are  of  local  and  anti- 
quarian interest  only.  Minstrels  vary  details  to  suit  and  flatter  the 
audience.  Full  notes  on  such  passages  as  these  will  be  found  in 
Percy's  Reliques  and  Scott's  Border  Minstrelsy. 

3,  2.  Bamboroughshire  is  not  a  county  but  one  of  three  divisions 
of  the  county  of  Northumberland.    Compare  Cheviot,  3,  4. 

3,  3.  Fells:  crags  or  bare  plateaus. 

7,  2.  "Tipped  with  the  noble  metal." 

8,  Scott,  whose  version  we  are  giving,  rejected  an  incremental 
stanza: 

How  pale  and  wan  his  lady  look'd, 

Frae  off  the  castle  height, 
When  she  beheld  her  Percy  yield 
To  Doughty  Douglas'  might. 

Child  thinks  he  should  have  rejected  stanza  8  also  as  being  "spu- 
rious, modern  in  diction  and  conception."  But  though  the  lady 
looking  on,  and  pale  at  that,  belongs  to  romance,  our  stanza  9  seems  to 
mean  that  because  she  was  looking  on  Douglas  spared  Percy  for 
another  encounter. 

Version  A  is  preferable  here.  Douglas  challenges  Percy.  There  is 
no  immediate  encounter,  but  the  meeting  at  Otterburn  is  arranged 
(as  here).  At  this  point  we  have  a  special  instance  of  Percy's 
chivalry. 

A  pype  of  wyne  he  gaue  them  over  the  walles, 

Forsoth  as  I  yow  saye; 
Ther  he  mayd  the  Dowglasse  drynke, 

And  all  hys  ost  that  daye 

Version  A  favors  the  English  part}^    Sec  note  on  stanza  20. 

9,  3.  Fell:  skin,  hide;  not  the  same  word  as  in  3,  3. 

10,  2.  Dayis:  Scotch  has  is  or  ys  for  es,  modern  es  and  s.  It  forms 
a  separate  syllable,  as  did  es  before  1500. 

11,  I.  Bum:  brook. 

12,  3.  Kale:  a  kind  of  loose-leaved  cabbage,  borecole. 
12,  4.  Fend:  support,  maintain. 

14,  2.  "  By  the  power  of  the  Virgin  Mary." 
14,  3.  Bide:  wait  for. 

14,  4.  Troth:  solemn  promise;  now  only  with  reference  to  a  promise 
of  marriage. 


264  Notes  and  Comment  [Pp.  81- 

15,  2.  Bent:  stiff,  coarse  grass  or  place  overgrown  with  such  grass. 
15,  4.  Pallions:  pavilions,  tents. 

19,  2.  The  Isle  of  Skj'e  is  off  the  northwestern  coast  of  Scotland; 
reference  here  seems  to  be  to  heaven,  by  a  kind  of  punning  which  has 
given  us  our  nursery  adaptation  of  the  biblical  Land  of  Nod. 

20.  Version  A  here  introduces  an  episode  designed  to  heighten  the 
heroism  of  Percy.  When  the  battle  begins  a  messenger  comes  to 
Percy  asking  him  to  put  off  the  fight.  His  father  has  a  noble  visitor 
whom  he  wishes  to  bring  as  spectator. 

"For  Jhesus  love,"  sayd  Syr  Harye  Perssy, 

"That  dyed  for  yow  and  me, 
Wende  to  my  lorde  my  father  agayiie. 

And  saye  thow  sawe  me  not  wyth  yee." 

That  is,  he  dare  neither  disobey  his  father  nor  break  his  promise  to 
Douglas — a  tragical  conflict,  though  of  minor  note.    What  is  yee? 

20,  4.  The  word  pan,  meaning  skull,  would  have  given  a  perfect 
rime  here. 

21,  3.  Swakked.    Same  as  swapped,  30,  3. 

23,  3.  The  relation  between  a  hero  and  his  sister's  son  was  a  pecu- 
liarly close  one  and  is  reflected  in  several  ballads,  one  of  which,  Sir 
Andrew  Barton,  narrates  an  event  occurring  as  late  as  151 1.  "In  the 
critical  part  .  .  .  ,  where  the  mast  must  be  climbed,  first  it  is  the 
retainer,  then  the  sister's  son,  none  dearer,  and  finally  Sir  Andrew 
himself."    (Gummere.) 

24,  2.  Recks:  boots  (version  C  *),  matters. 

25,  3.  Bracken:  a  large  species  of  fern. 

25,  4.  Lily  lea:  lovely  meadow. 

26,  2.  The  older  form  brere  would  give  a  perfect  rime. 

27,  4.  Merry-tnen:  warriors. 

30,  2.  "So  that  each  was  eager  to  fight  the  other." 

30,  3.  Swapped:  smote  with. 

32,  I.  "Neither  to  high-born  nor  to  base-born  man." 

The  Hunting  of  the  Cheviot 

I,  2.  Avow:  vow;  compare  "his  avow"  in  63,  i. 

1,  5.  In  the  maugre  of:  "in  the  spite  of"  (15,  4). 

2,  3.  Again:  in  reply;  compare  17,  3, 
2,  4.  Let:  prevent. 

2,  4.  May:  can. 


-88]  Notes  and  Comment  265 

5,  I.  Drivers  put  the  hounds  on  the  scent  of  the  deer. 

6,  I.  Wild:  wild  beasts,  game. 

6,  2.  Shere  should  be  sere;  it  means  several,  but  here  merely  in- 
tensifies every. 

7,  2.  Monen-day.  The  genitive  en  has  been  lost  also  in  Sunday, 
Friday,  lady-bird,  etc.  The  genitive  is  still  discernible  in  Tuesday, 
Wednesday,  and  Thursday.    Compare  lady-day  with  lord's  day. 

8,  I.  Mort:  signal  that  the  deer  had  been  killed. 
8,  3.  Querry:  quarry,  the  slaughtered  game. 

8,  4.  Brittling:  carving. 

10,  2.  At:  under;  i.  e.,  he  shaded  his  eyes  with  his  hand.  Compare 
Bewick  and  Graham,  26,  i. 

10,  3.  Ware:  aware. 

11,  I.  Bill:  pike  with  curved  cutting  blade  and  a  spur. 

11,  I.  Brand:  sword. 

12,  3.  Water:  river. 

12,  4.  Tividale:  Teviotdale;  thus  also  Cheviot  Chase  became  Chivy 
Chase,  but  Chevy  Chase  is  now  more  common. 

13,  3-4.  Double  negative,  as  often. 

14,  4.  Barn:  hero. 
17,  2.  Cast:  intend. 

19,  3-4.  "Let  our  men  stand  apart,  and  let  us  settle  our  quarrel  in 
single  combat."  This  single  combat  is  n^t  described.  In  the  second 
fitt,  beginning  stanza  25,  a  general  melee  is  described  in  the  course  of 
which  Douglas  and  Percy  meet.    Do:  do  we,  let  us  do. 

21,  3.  And:  if,  if  only.  Paraphrase  the  whole  speech  of  Percy  so 
as  to  make  the  connection  clear. 

23,  Is  this  a  vain  boast? 

24,  2.  Fitt:  division,  canto.  The  division  into  fitts,  though  made 
in  ballads  actually  sung  and  danced  in  the  Faroe  islands,  is  in  English 
and  Scottish  ballads  a  mark  of  minstrel  or  broadside  authorship. 
What  other  such  marks  in  this  stanza? 

25,  I.  Ybent:  bent;  y-  =  Old  English  and  German  ge-.  Here  the 
prefix  is  a  sign  of  the  past  participle;  in  the  next  line  we  find  it  as  e- 
prefixed  to  an  adjective,  enough. 

25,  3.  First  of  arrows.    Schroer  supplies  flight  after  first. 
25,  4.  Slough:  slew.    Seven  score  is  the  number  of  Robin  Hood's 
men;  Johnio  Armstrong  has  eight  score. 

27,  3.  Sure:  trusty. 

28,  I.  Archery:  archers;  a  collective  term  like  cavalry,  infantry, etc. 


266  Notes  and  Comment  [Pp.  88- 

29,  4.  Basnets :  steel  caps  or  hoods. 

30,  I.  Maniple:  robe  worn  under  the  mail. 

30,  2.  Stem:  hard-fighting;  used  substantively,  as  is  doughty  in 

28,3. 

30,  3.  Freak:  bold  warrior. 

31,  4.  Milan:  steel  made  in  Milan. 

36,  2.  Wane:  multitude;  Child  suggests  vv^ain,  catapult. 

36,  3.  "It  has  stricken  (struck)." 

4O5  I.  Of  is  a  mere  expletive,  as  so  often  in  Icelandic  verse.  Com- 
pare King  Estmerc,  53,  4,  and  note. 

40,  I.  See:  saw. 

40,  2.  Montgomery.  The  name  is  spelled  and  was  pronounced 
Monggombyrry,  with  intrusive  b  as  in  fambly,  chimbly;  so  also 
Hombildown  in  63,  4. 

40,  4.  Spended:  spanned,  got  ready. 

40,  4.  Tree:  beam — referring  to  the  shaft  of  the  spear. 

42,  2.  Dint:  stroke,  blow. 

42,  2-4.  The  rime  was  originally  sair:  bare;  compare  46,  1:3. 

43,  I.  Might:  could. 

43,  2.  Cloth-yard:  yard-stick,  yard. 

44,  2.  Say:  saw. 

44,  3.  Bend-bow:  bent  bow,  benbow,  properly  as  distinguished 
from  the  slacked  bow,  but  often  merely  an  epic  adjective. 

45,  3.  Sad:  heavy  (compare  sad-iron),  grievous. 

45,  4.  Sat:  set;  compare  42,  1-2. 

46,  2.  Of:  on. 

48,  3,  Even-song:  vespers,  (time  of)  afternoon  prayers. 

48,  3.  Rang:  rung. 

49.  Fragmentary  line,  due  to  someone's  lapse  of  memory. 

51,  2.  Stand  on  by:  keep  on  with  (?).    Gummere  reads  "on  high." 
52-53,  55-56.  See  note  on  Ollcrburn,  stanza  2.    Some  of  the  names 
here  are  doubtful.    Rugby,  e.  g.,  may  be  Raby  or  Rokeby. 
55,  4.  Sister's  son.    Compare  note  on  Oiterhurn,  23,  3. 

57,  4.  "  Came  to  fetch  their  mates  away." 

58,  4.  March-party:  Borderside. 

59,  3.  Lieftenant  of  the  Marches:  vice-royof  the  Border.  Lieu- 
tenant, pronounced  leftenant  in  England,  is  still  the  title  of  the  king's 
representative  in  Ireland  and  Canada. 

60,  I.  Weal:  wale,  mark  with  wales  raised  by  clenching  the  fist 
hard,  as  Skeat  suggests. 


-94]  Notes  and  Comment  267 

61,  I.  Lovely  London:  This  is  a  standing  expression. 

63,  4.  Hombildown:  Homildon.  The  battle  of  Homildon  Hill  was 
fought  September  14,  1402.  There  is  no  such  close  connection  as  the 
ballad  here  makes  out.  But  Harrj'  Percy,  or  Hotspur,  who  was  not 
killed  at  Otterburn,  fought  at  Homildon  Hill  and  there  took  prisoner 
Archibald,  fourth  Earl  of  Douglas,  grandson  of  James,  second  Earl  of 
Douglas,  who  did  fall  at  Otterburn. 

64,  3.  Glendale.  Glendale  Ward  is  the  district  in  which  Homildon 
is  situated,  according  to  Bishop  Percy.  The  line  then  would  mean: 
"  (The  men  of)  Glendale  glittered  in  their  armor  bright." 

65,  2.  Meaning  more  than  doubtful.  Perhaps,  "That  there  began 
this  spurn,"  referring  to  the  supposed  connection  between  Otterburn 
and  Homildon.    Spurn:  kick,  here  action. 

67.  "There  never  was  a  time  on  the  Border,  after  Douglas  and 
Percy  met,  but  that  it  was  strange  if,"  etc.  That  is,  the  feud  was 
kept  up. 

68.  The  minstrel's  benediction. 

68,  I.  Jesu:  Latin  vocative  used  as  nominative. 

Study 

The  Otlcrbiirn  and  Cheviot  ballads  are  chronicles.  Their  treatment 
is  epic,  fuller  of  detail,  names  of  persons  and  places,  characterizations, 
comment,  circumstantial  information  of  various  kinds. 

The  Otterburn  versions  are  three  and  four  times  as  long  as  the  ver- 
sions of  Sir  Patrick  Spens.  But  if  only  the  essential  features  of  each 
story  are  outhned,  the  two  stories  will  be  of  about  equal  length.  What 
makes  the  difference  in  the  length  of  the  ballads? 

The  use  of  detail  is  different.  Compare  the  first  four  stanzas  of 
Otterburn  and  of  The  Cruel  Brother.  The  details  in  Otterburn  tell 
us  "all  about"  the  beginnings  of  Douglas's  raid:  this  is  "epic  breadth." 
The  details  in  The  Cruel  Brother  really  tell  us  nothing,  merely  keep 
insisting  on  the  one  point  that  a  knight  wished  to  marry  a  lady:  this 
is  "lingering."  Compare  The  Battle  of  Otterburn,  stanzas  10-14,  with 
The  Cruel  Brother,  stanzas  5-8;  stanzas  28-34  of  the  former  with 
stanzas  12-21  of  the  latter. 

The  appeal  is  to  the  historic  sense.  Compare  with  King  Eslmere, 
a  romance,  where  the  appeal  is  to  wonder. 

The  chronicle  ballads  are  all  minstrel  ballads  (page  246).  Explain 
and  illustrate. 


268  Notes  and  Comment  [Pp.  94- 

But  OUerburn  and  Cheviot  are  ballads  after  all.  Point  out  similar- 
ities to  earlier  ballads. 

Alliteration  is  a  mark  of  minstrel  and  broadside  ballads.  Find 
examples.  Note  also,  especially  in  the  Cheviot  ballad,  the  frequency 
with  which  the  first  and  third  lines  rime.  Do  you  find  examples  of 
such  rimes  and  of  alliteration  in  the  earlier  ballads  studied? 

Of  the  six  versions  of  OUerburn  and  the  two  of  Cheviot,  some  are 
from  the  English  point  of  view,  some  from  the  Scotch.  Which  side 
does  each  of  our  ballads  favor? 


JOHNIE  ARMSTRONG 

The  Armstrongs  were  a  powerful  clan  in  the  Eatable  Land.  The 
Eatable  or  Debatable  Land  was  a  Scotch  district  near  the  western 
end  of  the  border;  it  was  so  called  because  both  England  and  Scotland 
claimed  it,  the  fierce  inhabitants  paying  little  attention  to  either 
claim.  In  1530  James  V  brought  them  and  many  other  wild  clans 
under  subjection.  How  he  proceeded  against  Johnie  Armstrong  is 
told  with  a  fair  degree  of  accuracy  in  the  present  ballad. 

"The  music  of  the  finest  singer  is  dissonance  to  what  I  felt  when  our 
old  dairy-maid  sung  me  into  tears  with  Johnny  Armstrong's  Last 
Good-Night,  or  The  Cruelty  of  Barbara  Allen,"  Goldsmith  says  in  an 
oft  quoted  passage  in  his  Essays.  Goldsmith's  title  fits  version  C 
better,  which  contains  a  "last  good-night"  (see  headnote  on  Young 
Waters).  In  this  version  Johnie  does  not  fight,  but  offers  the  king 
successively  twenty-four  milk-white  steeds,  twenty-four  ganging 
mills,  and  twenty-four  sisters'  sons,  if  the  king  will  spare  him.  Ouu 
version  is  much  more  heroic. 

1,  I.  Westmoreland  cannot  be  right.    Why? 

2,  I.  Harness:  armor. 

2,  2.  "  Steeds  which  were,"  etc. 

2,  3.  An'  is  an  expletive  merely,  as  also  in  4,  i. 

2,  4.  Uniform  equipment  was  a  point  of  honor.  Compare  stanzas 
6-7. 

3-4.  How  did  he  support  his  band? 

4,  2.  Compare  note  on  Sir  Patrick  Spens,  3,  i. 

II,  2.  Grievious:  grievous. 

II,  3.  This  saying  may  be  historical  (Lindsay's  Chronicles  of  Scot- 
land) or  it  may  be  proverbial.    It  is  7tot  a  ballad  phrase. 

16,  I.  What  is  the  subject  of  saying? 


-loo]  Notes  and  Comment  269 

17.  Similar  incidents  are  frequent  in  ballads  and  folk-tales.  At 
times  even  it  is  an  unborn  child  that  vows  vengeance. 

Study 

What  is  the  relative  importance  of  the  single  situation  and  epic 
chronicle  here  and  in  the  two  Chevy  Chase  ballads?  What  minstrel 
characteristics  found  there  are  wanting  here?  Our  version  is  English 
as  shown  by  i,  i;  3,  4;  15,  3  (perhaps),  and  17,  4.    Explain. 


CAPTAIN  CAR,  OR  EDOM  O'  GORDON 

The  ballad  recounts  an  incident  of  the  year  15  71  in  the  feud  between 
the  Gordons  and  the  Forbeses,  a  feud  embittered  by  the  fact  that  the 
families  belonged  respectively  to  the  CathoHc  and  the  Rrotestant 
faction. 

In  some  versions  Adam  Gordon  himself  is  the  hero,  and  not  his 
lieutenant  Thomas  Ker  (Car).  The  minstrels,  Percy  remarks,  "made 
no  scrui)le  of  changing  the  names  of  the  personages  they  introduced,  to 
humor  their  hearers  .  .  .  [he]  would,  when  among  the  Gordons, 
change  the  name  to  Car,  whose  clan  or  sept  lay  farther  west,  and 
Tfice  versd." 

I,  I.  Maitinmas:  November  11,  Scotch  quarterday. 

I,  5-8.  This  reads  like  a  burden  or  undersong  (page  xiii),  but  in  a 
ballad  of  so  late  a  date  it  was  more  likely  sung  as  a  chorus-refrain. 

7,  1-3.  "No  sooner  were  they  at  supper  set  and  after  that  grace 
said,  than  Captain  Car,"  etc. 

7,  4.  Were  light:  had  alighted. 

8,  2.  Band:  bond,  agreement. 

9,  The  eldest  son  is  not  of  the  heroic  mold  of  his  mother.  In  a 
version  found  among  Scott's  Abbotsford  papers  he  is  reproved  by  his 
next  younger  brother. 

16,  I.  "He  spoke  with  a  mental  reservation." 

17,  2.  Knit:  knotted;  this  is  the  original  meaning  of  knit. 
17,  2.  Of:  with,  in. 

19,  4.  The  Percy  manuscript  has  "  smothers,"  but  our  reading  is 
more  in  keeping  with  the  ferociousness  of  the  ballad. 

21.  This  retainer,  as  is  explicitly  stated  in  other  versions,  has  gone 
over  to  the  other  faction.    In  the  Abbotsford  version  mentioned  above, 


270  Notes  and  Comment  [Pp.  100- 

the  lady  recognizes  the  fact  that  he  is  but  doing  his  duty  to  his  new 
master: 

''Awa,  awa,  Jack  my  man! 

Seven  year  I  paid  you  meat  and  fee. 
And  now  you  lift  the  pavement-stane 
To  let  in  the  low  to  me." 

"I  yield,  I  yield,  O  lady  fair. 

Seven  year  ye  paid  me  meat  and  fee; 
But  now  I  am  Adam  McGordon's  man, 
I  must  either  do  or  die." 

"If  ye  be  Adam  McGordon's  man, 
As  I  true  well  ye  be, 
Prove  true  unto  your  own  master. 
And  work  your  vvdll  to  me." 

22,  I .  Close  paxlor :  either  a  parlor  on  the  close  (or  yard) ,  or  an  inner 
parlor. 

23,  3.  In  close:  in  a  dose  place,  surrounded,  entrapped. 
25,  I.  Busk  and  boun:  get  ready. 

27,  4.  Compare  7,  4. 
30,  I.  Ought:  owed. 

Study 

Compare  with  Joknie  Armstrong  as  to  ballad  features,  situation  and 
plot,  characterization,  and  epic  treatment.  How  does  it  differ  in 
tone  (tragic,  pathetic,  heroic,  ferocious)?  By  what  device  of  the 
older  ballads  is  the  tone  suggested?  What  secondary  characters  are 
introduced  and  why?  For  what  different  purpose  are  secondary 
characters  introduced  in  the  older  ballads,  e.  g.,  7he  Cruel  Brother? 
Explain  the  double  title.    Could  stanzas  24-30  be  omitted? 


JOCK  O'  THE  SIDE 

"The  ballad  is  one  of  the  best  in  the  world,  and  enough  to  make  a 
horse- trooper  of  any  young  borderer,  had  he  lacked  the  impulse." — 
Child. 

John  Armstrong,  called  Jock  o'  the  Side  from  his  residence  and  to 
distinguish  him  from  other  John  Armstrongs,  was  a  nephew  of  the 
laird  of  Mangerton,  who  was  the  elder  brother  of  the  Johnie  Arm- 
strong betrayed  by  James  V.    Since  Side  is  on  the  Liddel  near  Man- 


-!04]  Notes  and  Comment  271 

gerton  and  Johnie's  hall,  Giltnock,  was  on  the  Esk,  farther  south, 
Jock's  father  is  presumably  a  third  brother. 

Hobby  Noble  was  probably  an  Englishman  banished  for  his  mis- 
deeds, and  not  a  half-brother  of  Jock's.  This  is  the  account  given 
of  him  in  version  B  of  our  ballad  and  also  in  the  ballad  in  v/hich  his 
own  betraj'al  and  capture  are  sung. 

Much,  the  Miller's  son,  belongs  to  the  band  of  Robin  Hood.  How 
he  came  to  be  taken  over  into  our  ballad  will  appear  when  we  come 
to  study  the  Robin  Hood  ballads.  Robin  Hood's  forest  was  also  a 
kind  of  Debatable  Land. 

I,  I.  The  abruptness  is  probably  due  to  the  loss  of  stanzas,  and  is 
not  an  example  of  the  old  leaping  and  lingering.  Explain.  In  the 
ballad  of  Hobby  Noble,  Hobby  acknowledges  that  he  slew  Peter  o' 
Whitfield.    This  gives  us  a  clew  to  the  contents  of  the  missing  stanza. 

I,  4.  New  Castle.  Newcastle-on-Tyne  derives  its  name  from  a 
castle  built  on  the  site  of  a  former  castle,  by  Henry  II;  it  was  the 
strongest  castle  in  northern  England. 

How  can  we  restore  the  rime?    How  in  stanzas  2,  4,  36? 
3,  2.  Meat:  food,  meal.    Our  use  of  meat  for  flesh-meat  is  quite 
modern. 
3,  4.  Might:  could. 

5,  4.  Loose:  release. 

6,  2.  Hie:  proud(ly),  bold(ly).  What  is  the  rime  and  where  else 
does  this  Scotch  rime  occur? 

7,  I.  Thou'st:  thou  shalt. 

7,  4.  Tividale.    Compare  Cheviot,  stanza  1 2. 

8,  4.  Badgers:  hawkers,  hucksters. 

9,  2.  In  version  B  and  also  in  Archie  6'  Cawfidd  the  shoes  are  set 
backward;  but  this  does  not  in  either  case  affect  the  story.  Compare 
Kipling's  Ballad  of  East  and  West,  line  4. 

II,  4.  Gate:  "way"  (12,  3),  passage,  ford. 

12,  2.  See:  protect,  guard. 

13,  4.  Horse  of  tree:  foot-bridge  (?).  Roundabout  answer  of  a 
suspicious  person;  compare  Hind  Horn,  stanzas  8-9. 

16,4.  Peril! :  peril;  accent  on  second  syllable.  Compare  Cas- 
tell,  5,  4. 

17,  4.  What  other  examples  of  thirty  and  three  as  a  ballad  number? 

18,  4.  Wliereas:  where. 

22,  3.  "Applies  rather  to  his  capacity  as  a  thief  than  to  his  mettle." 
(Compare  stanzas  30,  36.) — Child. 


2/^  Notes  and  Comment  [Pp.  104- 

23,  3.  Him:  the  man  (whom). 
25>  3-  A  commonplace. 

32,  I.  Flanders  was  the  leading  industrial  country  of  the  middle 
ages. 

32,  4.  Look:  see  to  it. 

33,  I.  Forth  of:  out  of. 

34,  4.  Seat:  sate,  sat. 

35,  I.  Lough:  laughed.    Compare  version  B. 

"O  Jock,  sac  winsomely's  ye  ride, 

Wi'  baith  your  feet  upo'  ae  side! 
Sae  weel's  ye're  harness 'd,  and  sae  trig! 

In  troth  ye  sit  like  ony  bride." 

39,  2.  Either  for  joy  or  because  he  overestimated  the  effort  re- 
quired. The  latter  explanation  is  more  in  line  with  the  humorous 
treatment  of  the  whole  incident. 

39,  4.  Fellow:  equal. 

40,  4.  Fain:  joy.    The  reference  back  to  3,  4  is  artistic. 

In  version  B  after  Jock  has  been  rescued  and  brought  home  by 
Hobby,  the  Laird's  Jock,  and  the  Laird's  Wat,  we  read: 

"Now  Jock,  my  billie,"  quo'  a'  the  three, 
"The  day  was  com'd  thou  was  to  die; 

But  thou's  as  weel  at  thy  ain  fire-side, 
Now  sitting,  I  think,  'tween  thee  and  me." 

Study 

Compare  the  characterization  with  that  of  the  ballads  just  studied 
and  with  that  of  the  ballads  printed  first  in  this  book.  Compare  the 
use  of  secondary  characters  in  this  ballad  and  in  Captain  Car.  What 
character  serves  as  a  comic  foil?  What  other  comic  touches?  How  is 
the  character  of  Jock  presented  to  us?  Is  he  or  Hobby  the  hero  of 
the  ballad?  Is  their  relation  to  each  other  like  that  of  Estmere  and 
Adler?  How  do  we  designate  a  group  of  stanzas  such  as  20-24?  Note 
the  climax  in  stanzas  31,  37,  39. 

Students  who  have  access  to  Sargent  and  Kittredge  may  compare 
this  ballad  with  Kinmont  Willie  and  Archie  0'  Caw  field.  Note  par- 
ticularly the  literary  touches  of  Kinmont  Willie.  Which  of  the  three 
ballads  reads  more  Hke  a  modern  poem? 


-109]  Notes  and  Comment  273 


THE  BARON  OF  BRACKLEY 

Two  incidents  are  confused  in  this  ballad.  In  1592  the  aged  Baron 
of  Brackley  was  murdered  by  Highland  robbers  whom  he  had  enter- 
tained; in  1666  a  quarrel  arose  between  John  Gordon  of  Brackley 
and  John  Farquharson  of  Inverey  in  which  the  former  was  killed. 
The  sharply  drawn  portrait  of  Peggy  is  not  in  accord  with  the  truth 
of  history.  The  Gordons  of  Brackley  were  of  the  same  powerful 
Aberdeenshire  family  mentioned  in  the  headnote  to  Captain  Car. 

The  version  here  given  is  Jamieson's.  It  is  made  up  of  a  version  by 
Mrs.  Brown  (Anne  Gordon)  and  a  fragmentary  version  obtained  by 
Scott  from  the  recitation  of  two  great-granddaughters  of  Farquharson 
of  Inverey.  The  two  versions  did  not  differ  materially,  Jamieson 
remarks. 

2,  2.  Spin:  spurt. 

6,  I.  Rocks:  distaffs. 

14,  2.  Inverey  plus  thirty-three  does  make  thirty-four,  but  this 
accuracy  is  suspicious  in  a  ballad.  Compare  Katharine  Janjarie, 
stanzas  13-14. 

16,  2.  Bann:  curse. 

17,  2.  Riving:  tearing. 

19,  I.  Ben:  to  the  inner  or  front  room. 

23,  I.  Tour:  circuit  (affording  thus  a  roundabout  way  to  elude 
pursuit). 

Study 

Is  this  two-line  stanza  the  same  as  the  one  found  in  older  ballads? 

Compare  this  ballad  with  The  Twa  Sisters  and  The  Douglas  Tragedy 
for  number  and  grouping  of  situations,  and  for  leaping  and  lingering. 
Compare  it  with  Johnie  Armstrong,  Captain  Car,  and  Jock  0'  the  Side 
for  character-drawing. 

Discuss  the  movement  of  this  ballad.  Do  3'^ou  find  marks  of  epic 
treatment?  Of  the  four  ballads  just  studied,  which  is  most  like  an 
older  ballad? 

Study  the  use  of  quotation  marks.     Can  you  suggest  changes? 

BONNY  GEORGE  CAMPBELL 

This  is  an  example  of  the  coronach,  or  lament  for  the  dead,  often 
also  called  by  the  Corsicun  term  fur  it,  voccro.    Most  students  will 


274  Notes  and  Comment  [Pp.  109- 

remember  the  coronach  in  Scott's  Lady  of  the  Lake,  canto  iii,  xvi, 
anci  some  will  know  the  vocero  in  Prosper  Merimee's  Corsican  novel 
Colomba,  chapter  xii,  with  the  interesting  account  in  chapter  v  of 
folk  poetry  as  actually  found  in  Corsica.  "The  noblest  coronach  of 
all,"  says  Gummere,  "has  made  a  far  journey  from  its  original  form. 
Who  does  not  think  of  those  other  faithful  followers,  the  Scots  lords 
that  sleep  by  their  leader,  half  owre  to  Aberdour,  fifty  fathom  under 
sea?  "    See  also  the  next  ballad,  TJie  Bonny  Earl  of  Murray. 

The  ballad  is  presumably  historical,  but  nothing  definite  is  known 
of  George  Campbell  (James  Campbell  in  version  A).  We  give  two 
versions,  B  and  D.  The  relation  to  the  other  versions  will  be  seen 
from  the  following  table.  There  are  of  course  verbal  differences  in 
the  corresponding  stanzas;  some  even  of  a  substantial  nature,  as 
mothers  B,  C,  sisters  A,  and  wife  A,  B,  bride  C. 

A  B  C  D 

I  II 

Stanza:  212 
323 
4  42 

3,  1-2     s,  1-2 
3-4     6,  I,  4 


C  5  and  6  read: 


Saddled  and  bridled 

And  booted  rode  he, 
A  plume  in  his  helmet, 

A  sword  at  his  knee. 

But  toom  came  his  saddle, 

All  bloody  to  see, 
Oh,  hame  cam  liis  guid  horse. 

But  never  cam  he. 

Version  B 
I,  2.  Rade:  rode.    What  is  a  raid? 

1,  3.  Toom:  empty. 

2,  2.  Greetin':  weeping. 

2,  4.  A  has  "Tearing  her  hair." 

Version  D 
2,  2.  Com:  grain  (vv-heat  or  rye);  so  always  in  the  Bible  and  in 
English  literature  generally. 


-no]  Notes  and  Comment  275 

Study 

The  coronach  is  properly  a  lyric.  Why?  What  stanzas  in  our 
versions  are  purely  lyrical?  purely  narrative?  both  narrative  and 
lyrical?  Which  stanza  might  be  a  refrain  or  burden?  Find  the  cor- 
onach referred  to  in  the  quotation  from  Gummere.  What  other  more 
lyrical  ballads  have  we  had?  Are  any  of  them  of  the  nature  of  cor- 
onachs? "All  ballads  are  lyrical  ballads:"  explain.  Are  some  ballads 
more  lyrical  than  others?    Why? 

Note  that  a  coronach,  hke  a  last  good-night,  may  make  up  only 
part  of  a  ballad.    Find  examples.  ' 

Study  the  table  given  above  and  point  out  how  a  ballad  singer  adds 
and  subtracts  stanzas  freely.  This  is  true  of  all  popular  poetry. 
Can  you  illustrate  it  from  Mother  Goose  rimes? 

THE  BONNY  EARL  OF  MURRAY 

The  Earl  of  Murray  was  James  Stewart,  son  of  James  Stewart  of 
Doune  (see  stanza  6).  The  Earl  of  Huntly  was  the  head  of  the  house 
of  Gordon  mentioned  in  previous  notes,  nephew  in  fact  of  Adam 
Gordon  (Edom  o'  Gordon);  he  was  a  bitter  enemy  of  Murray. 
Murray  was  charged  with  being  implicated  in  the  attempt  to  take 
Holyrood  castle,  in  1591,  and  James  VI  commissioned  Huntly  to 
arrest  him  (compare  the  king's  speech,  stanza  2).  Murray,  after 
being  forced  out  of  his  mother's  house  by  fire  and  smoke,  almost 
effected  his  escape,  but  was  discovered  and  slain.  Although  Huntly 
had  overstepped  his  commission,  he  was  never  brought  to  justice. 
This  too  in  spite  of  the  indignation  universally  felt.  It  was  to  avenge 
the  death  of  Murray  that  Highlanders  attacked  and  murdered  the 
Baron  of  Brackley. 

Version  B  identifies  Murray's  wife  with  Huntly's  sister,  thus 
heightening  Huntly's  treachery.  There  is  no  historical  warrant  either 
for  this  detail  or  the  last  line  of  stanza  5. 

The  ballad  is  notable  for  its  lyrical  qualities.  It  is  probably  to  be 
regarded  as  a  coronach  (see  the  preceding  ballad).  Stanzas  i  and  6 
bear  out  this  view  as  do  especially  the  last  two  stanzas  of  version  B : 

"Her  bread  it's  to  bake. 
Her  yill  is  to  brew; 
My  sister's  a  widow. 
And  sair  do  I  rue, 


276  Notes  and  Comment  [Pp.  no- 

"Her  com  grows  ripe. 

Her  meadows  grow  green, 
But  in  bonny  Dinnibristle 
I  darena  be  seen." 

I,  I.  "  Ye  men  of  the  Highlands  and  the  Lowlands." 
3,  2.  Rid:  rode;  rid  was  originally  the  plural  of  rode.    To  ride  at 
the  ring  was  a  sixteenth  century  form  of  tilting;  the  ring  was  sus- 
pended at  some  height  and  the  knight  tried  to  catch  It  on  his  spear 
as  he  rode  by. 

5,  2.  "Unexplained;  possibly,  spearing  a  glove  when  riding  rap- 
idly."—Child. 

6,  4.  Sounding:  perhaps  "with  clatter  of  arms  and  horse's  hoofs." 

Study 

Leaping  and  lingering.  Incremental  repetition.  Entire  absence 
of  setting,  characterization,  and  other  epic  traits.  Likeness  to  the 
older  communal  dance-song  (but  there  is  not  a  particle  of  evidence 
of  its  having  been  a  dance-song).  Compare  with  Bonny  George 
Campbell:  lyrical  quality;  ballad  structure;  dance-song;  historical 
definiteness. 

JOHNIE  COCK 

"This  precious  specimen  of  the  unspoiled  traditional  ballad."— 
Child. 

The  place-names  seem  to  be  Northumbrian.  But  there  is  some  evi- 
dence from  tradition  that  Johnie  Cock  was  a  Scotch  freebooter  of 
Annandale  in  Dumfriesshire. 

1,  3-4.  Other  versions  have  a  more  intelligible  reading,  D,  e.  g.: 

And  he  has  called  for  his  gude  gray  hands, 
That  lay  bund  in  iron  bands,  bands, 
That  lay  bund  in  iron  bands. 

2,  3.  Benison:  benediction.    What  is  malison? 

3,  I.  Forsters:  foresters  (who  were  officers  of  the  law).  Compare 
the  family  names  Forster,  Foster. 

4,  4.  Lincolm:  Lincoln — the  right  outlaw  green. 

5,  2.  The  bent  bow  or  benbow  is  the  bow  ready  for  shooting,  not 
slacked. 

6,  In  version  D: 


-114]  Notes  and  Comment  '277 

His  mither's  counsel  he  wad  na  tak. 

He's  a£f,  and  left  the  toun, 
He's  afif  unto  the  Braidscaur  hill, 

To  ding  the  dun  deer  doun. 

6,  2.  Buss  0'  broom:  bush  of  heather. 

6,  4.  Ling:  a  thin,  long  grass;  same  as  bent-grass. 

7,  3.  Wan:  colorless.    See  note  on  Tlie  Douglas  Tragedy,  ii,  3. 

7,  4.  Stemm'd:  checked. 

8,  I.  A  pen-knife  three  quarters  of  a  yard  long  is  known  only  to 
ballads.    See  note  on  The  Cruel  Brother,  11,  1. 

9,  I.  Pronounce  eat. 

ID,  I.  Palmer.  A  palmer  was  properly  a  man  who  had  made  a 
pilgrimage  to  the  Holy  Land.  Most  of  those  we  read  about  seem  to 
have  done  nothing  else  worth  while. 

10,  4.  Drie:  stand  to  go.    What  is  the  rime? 

11,  3-4.  In  version  D: 

I  heard  na  news,  I  speird  na  news 
But  what  my  een  did  see. 

Compare  Hind  Horn,   stanzas  8-9,  and   note;   Jock  o'   the  Side, 
stanza  13,  and  note.    What  is  the  rime?    Compare  stanza  15. 

12,  2.  Scroggs:  scraggly  underbrush. 

12,  3.  Well-wight:  stalwart,  sturdy. 

13,  3.  American  leather.  The  reference  has  not  been  satisfactorily 
explained.  In  older  hterature  we  read  much  of  Cordovan  leather. 
Cordova  is  in  Spain.  (What  is  a  cordwainer?) — This  is  the  only 
reference  to  America  in  Child's  ballads. 

13,  4.  Ballads  are  lavish  of  gold  and  other  things  precious  or  rare. 

14,  3-4.  Versions  D,  E,  F,  H  have  each  two  incremental  stanzas 
showing  that  counsel  was  divided. 

15,  I.  Y:  "ae,"  one;  first  y,  first. 

15,  2.  This  suits  the  fierceness  of  the  ballad  better  than  the  wound 
over  the  ee  (eye)  B;  or  over  the  bree  (brow)  C. 

15,  3.  His  sister's  son.  See  note  on  O/terJz^rw,  23,3.  This  is  found 
also  in  Scott's  version  F;  D  and  E  have  uncle's  son,  a  corruption. 

17,  4.  Brae:  brow;  bree,  the  usual  Scotch  form  of  the  same  word, 
would  restore  the  rime. 

18,  3.  Belive:  straightway,  at  once. 

19,  3.  Wan:  "won,"  got.  The  omission  of  one  after  that  is  un- 
usual; perhaps  we  should  read:  that  wan  (  =onc)  wan  (  =won). 


278  Notes  and  Comment  [Pp.  114- 

19J  4.  Bode-words:  message,  news. 

20,  I.  A  boy,  "who  will  win  him  hose  and  shoon,"  is  frequently 
called  for  as  a  messenger  in  ballads.  But  here  boy  seems  to  be  a 
corruption  for  bird  (versions  B,  F).  This  would  make  the  second  line 
clearer.    Version  K  consists  of  this  one  stanza: 

"There's  no  a  bird  in  a'  this  foreste 
Will  do  as  meikle  for  me 
As  dip  its  wing  in  the  wan  water 
An  straik  it  on  my  ee-bree." 

Buchan's  version,  H,  has  the  inevitable  parrot  (see  head-note  on 
The  Gay  Goshawk),  Scott's,  F,  a  bird,  then  a  starhng. 

21,  3.  Many  ae:  many  (a)  one. 

Study 

Note  the  refrain  in  stanza  i.  What  would  it  be  in  stanzas  2,  3,  4, 
etc.?    What  other  ballad  features  do  you  note? 

Compare  for  ballad  and  narrative  treatment  with  Johnic  Arm- 
strong and  The  Baron  of  Brackley.  Compare  for  ferociousness  with 
Captain  Car  and  The  Hunting  of  the  Cheviot. 

What  outlaw  ballads  have  we  had?  What  have  they  in  common? 
How  do  they  differ?  Do  any  of  them  show  an  appreciation  of  nature 
(see  the  Robin  Hood  ballads)? 


GENERAL  INTRODUCTION  TO  THE  ROBIN  HOOD 
BALLADS 

Some  learned  men  have  tried  to  show  that  Robin  Hood  was  origi- 
nally a  mythological  character:  a  wind-god  (Wodan)  or  an  elf  (Robin 
Goodfellow,  Puck).  Others  have  tried  to  assign  him  a  definite  place 
in  history:  in  the  days  of  Richard  the  Lion-hearted  (thus  Scott  in  his 
Ivanhoe)  or  of  Simon  de  Montfort  or  of  Edward  II.  But  all  such 
speculations  are  beset  with  difficulty  and  doubt. 

And  mony  anc  sings  o'  grass,  o'  grass. 

And  mony  ane  sings  o'  corn, 
And  mony  ane  sings  o'  Robin  Hood 

Kens  little  whare  he  was  born. 

What  cannot  be  doubted  is  that  Robin  Hood  was  the  ideal  hero  of 
the  English  people  in  the  fourteenth,  fifteenth,  and  sixteenth  cen- 


-114]  Notes  and  Comment  279 

turies.  Ballads  about  him  were  current  as  early  as  1377,  and  his  fame 
extended,  then  or  a  little  later,  over  all  England  and  well  into  Scot- 
land. In  the  fifteenth  century  if  not  earlier  dramatic  representations 
of  his  exploits  were  given,  played  in  the  open  air  by  the  people,  much 
as  they  played  the  Bible  stories,  the  mysteries.  Toward  the  close  of 
the  fifteenth  and  throughout  the  sixteenth  century  Robin  Hood  and 
his  merry  men  were  standing  figures  in  the  Morris  dances  and  May 
day  games,  and  the  observance  of  "Robin  Hood's  day"  emptied  the 
churches.  But  his  fame  rose  first,  and  lasted  longest,  in  ballads.  The 
first  mention  of  him  is  as  a  ballad  hero,  it  is  from  ballads  that  his- 
torians of  the  fifteenth  century  gleaned  the  first  "historical"  notices 
of  him,  while  throughout  the  eighteenth  century  garlands  of  Robin 
Hood  ballads  were  still  among  the  most  regular  and  most  popular  of 
such  publications.  Of  Child's  great  collection  one  ninth  consists  of 
Robin  Hood  ballads,  "and  perhaps  none  in  English  please  so  many 
and  please  so  long." 

Robin  Hood  represents  first  of  all  popular  justice,  the  smouldering 
protest  of  the  common  people  against  harsh  forest  laws  and  the  op- 
pression of  the  nobles  and  the  higher  clergy;  but  he  represents  also 
the  awakening  of  the  common  people  in  the  century  in  which  the 
House  of  Commons  was  formed,  the  yeoman  archery  distinguished 
itself  at  Crecy  and  Poitiers,  and  Wat  Tyler  led  the  revolting  peasants 
to  the  presence  of  the  king  himself.  Robin  Hood  thus  became  a 
gathering  point  for  a  mass  of  tradition,  concerning  which  the  writers 
in  the  Britannica  say:  "What  perhaps  is  its  greatest  interest  as  we 
first  see  it  is  its  expression  of  the  popular  mind  about  the  close  of  the 
middle  ages.  Robin  Hood  is  at  that  time  the  people's  ideal  as  Arthur 
is  that  of  the  upper  classes.  He  is  the  ideal  yeoman  as  Arthur  is  the 
ideal  knight.  He  readjusts  the  distribution  of  property:  he  robs  the 
rich  and  endows  the  poor.  He  is  an  earnest  worshipper  of  the  Virgin, 
but  a  bold  and  vigorous  hater  of  monks  and  abbots.  He  is  the  great 
sportsman,  the  incomparable  archer,  the  lover  of  the  greenwood  and 
of  a  free  life,  brave,  adventurous,  jocular,  open-handed,  a  protector 
of  women." 

Certain  stories  about  him  the  people  never  tired  of  telling  or  singing 
or  enacting:  How  he  outwitted  the  sheriff  of  Nottingham;  How  he 
rescued  others  or  was  himself  rescued  from  the  law  (for  if  Robin  was 
an  outlaw  it  was  because  the  law  was  out  and  needed  righting); 
How  he  humbled  "these  bishops  and  these  archbishops;"  How  he 
helped  the  needy  or  distressed;  How  he  played  this  or  that  practical 


28o  Notes  and  Comment  [Pp.  114- 

joke;  How  he  honored  the  Virgin  and  was  often  helped  by  her  out  of 
dire  straits;  How  he  often  met  his  match  in  some  potter  or  pinder  or 
butcher  or  beggar,  only  in  the  end  to  induce  him  to  join  his  band. 

There  were  two  groups  or  cycles  of  Robin  Hood  ballads.  The  scene 
of  the  one  is  Bamsdale  in  southwestern  Yorkshire,  of  the  other, 
Sherwood  forest  in  the  heart  of  Nottinghamshire.  In  both  cycles  we 
find  associated  with  him  Little  John,  William  Scathlock  or  Scarlet, 
and  Much  the  Miller's  son.  Gilbert  of  the  White  Hands  and  Reynold 
are  less  often  heard  of,  and  Friar  Tuck  and  Maid  Marian  belong  only 
to  the  later  and  less  popular  tradition.  Robin's  "ofificial  enemy"  is  the 
sheriff  of  Nottingham,  who  in  the  ballads  cuts  much  sucli  a  figure  as 
the  Vice  did  in  the  miracle  plays. 

An  interesting  development  of  the  greenwood  balladry  is  A  Little 
Gest  of  Robin  Hood,  a  miniature  epic  of  456  ballad  stanzas,  divided 
into  eight  fitts  or  cantos.  It  was  printed  about  1500  by  Wynkyn  de 
Worde  and  several  times  besides  in  the  course  of  the  sixteenth  century. 
It  delineates  lovingly  and  at  length  the  character  of  Robin  Hood  and 
weaves  into  a  sort  of  unified  whole  most  of  the  characteristic  stories 
about  him.  It  is  delightful  to  read,  a  ballad  grouTi  up,  but  still  in 
the  fresh  glory  of  youth  and  awkwardness.  For  the  advanced  student 
it  is  the  best  work  with  which  to  begin  a  study  of  how  an  epic  may 
grow  out  of  ballads. 

ROBIN  HOOD  AND  THE  MONK 

The  text  of  this  ballad  is  of  about  the  same  date  as  those  of  The 
Devil  and  the  Girl  and  St.  Stephen  and  Herod,  about  1450.  There  is 
only  one  text  older,  a  thirteenth  century  ballad  of  Judas  Iscariot. 
It  must  be  remembered,  however,  that  the  date  of  a  text  has  little 
direct  bearing  upon  the  age  of  a  ballad.  Robin  Hood  ballads  were 
widely  popular  as  early  as  1377  and  must  have  been  current  a  con- 
siderable space  of  time  before  that.  Other  ballads  are  even  older, 
very  much  older,  though  the  texts  we  have  of  them  date  only  from 
the  seventeenth  and  eighteenth  century. 

"Too  much  could  not  be  said  in  praise  of  this  ballad,  but  nothing 
need  be  said.  It  is  very  perfection  in  its  kind;  and  yet  we  have  others 
equally  good,  and  beyond  doubt  should  have  had  more,  if  they  had 
been  written  down  early,  as  this  was,  and  had  not  been  left  to  the 
chances  of  tradition.  Even  writing  would  not  have  saved  all,  but 
writing  has  saved  this  (in  large  part),  and  in  excellent  form." — Child. 


-ii6]  Notes  and  Comment  281 

1-2.  Such  lyric  introductions,  called  burden-stems,  are  charac- 
teristic of  Danish  ballads.  In  British  ballads  they  are  practically 
confined  to  the  Robin  Hood  cycle  and  always  have  the  same  theme, 

I,  I.  Shaws:  thickets,  groves. 

1,  4.  Fowles:  birds. 

2,  3.  Shadow  hem:  seek  shadow  for  themselves. 

3,  I.  Hit:  it. 

3,  I.  Whitsuntide:  the  seventh  Sunday  after  Easter  with  the  week 
following,  the  feast  of  the  descent  of  the  Holy  Spirit.  As  a  popular 
fe3ti\'al  it  is  the  welcoming  in  of  summer. 

3,  3.  Can:  did.  This  occurs  in  next  line  also  and  in  a  number  of 
other  places. 

3,  4.  Briddes:  birds;  metathesis  of  r  may  be  observed  in  our  pro- 
nunciation of  pretty  as  perty. 

4,  2.  Tree:  rood  (18,  2),  cross. 

4,  3-4.  "  'Oh  evil  day,  if  I  were  sullen! '  says  with  all  his  heart  this 
outlaw  of  the  fourteenth  century." — J.  W.  Hales. 
6,  3.  May:  can. 

6,  4.  Matins :  morning  prayers. 

7,  2.  "Since  I  have  looked  upon  the  crucifix." 

7,  3.  Infinitive  omitted,  being  easily  supplied;  so  also  in  23,  4;  26, 4. 

7,  4.  Might:  power. 

8, 1.  Milner:  miller's.  The  genitive  sign  is  wanting  also  in  18,  i;  23, 
i;  24,  3;  27,  3;  28,  i;  38,  3.    Compare  the  family  name  Milner,  Milnor. 

8,  2.  "May  good  fall  to  his  lot  always." 

8,  5-6.  Much  is  thinking  of  the  sheriff.  He  would  take  Robin  Hood 
if  Robin  came  alone,  but  would  hesitate  to  attack  him  if  Robin  came 
well  attended. 

9,  4.  Me  list:  it  pleases  me;  list  is  the  usual  contraction  for  listeth. 

10,  3.  Sheet  a  penny:  shoot  for  (stanza  11)  a  penny. 

10,  4.  Line:  linden-tree,  basswood;  compare  23,  2. 

11,  4.  Hold:  wager,  offer  as  a  wager.    Odds  three  to  one! 

12,  2.  Busk:  bush. 

12,  2.  Broom:  broom-corn,  the  planta  genista  from  which  the  Plan- 
tagenet  kings  derived  their  name. 
12,  4.  To:  for. 
14,  I.  Lied:  passed  the  lie  to,  called  him  a  Uar. 

14,  2.  What  is  the  rime?    Sec  stanza  71. 

15,  2.  'Bye:  abye,  now  abide,  [)ay  for;  abide,  "wait  for,"  is  another 
verb. 


282  Notes  and  Comment  [Pp.  117- 

17,  4.  Save :  safe. 

18,  2.  Rood:  cross. 

20,  4.  Sparred:  closed,  barred. 

22,  3.  Is  long  of:  depends  upon. 

23,  2.  Lind:  line  (10,  4),  linden. 

24,  2.  Radly:  "rathely,"  quickly.    Yare:  ready. 

25,  I.  Dures:  doors. 

25,  I.  Throly  thrast:  stubbornly  thrust,  eagerly  pushed. 

25,  2.  Full  good  wone:  a  very  great  number. 

26,  3.  There  as:  there  where,  where. 

27,  I.  Thoroughout:  throughout,  quite  through. 

28,  4.  A  blending  of  the  constructions:  "I  pray  to  God  to  work," 
etc.,  and  "I  pray,  God  work,"  etc. 

29,  2.  Again:  against. 
29,  3.  But  if:  unless. 
29,  3.  May:  can. 

31,  I.  The  break  comes  in  the  manuscript  at  the  turn  of  the  page, 
which  in  itself  might  account  for  the  omission  of  one  or  more  stanzas. 
Someone  brings  to  Robin's  men  news  of  his  capture,  and  (35,  3)  of 
the  monk's  mission  to  the  king. 

31,  I.  As:  as  if. 

31,  3.  Here:  their;  so  hem  for  them  in  53,  i  and  often. 

32,  I.  Rule:  "going  on,  taking  on"  (Child):  dule,  "sorrow,"  has 
been  suggested  as  an  emendraent. 

33,  I.  "Has  in  times  past,"  etc. 

34,  2.  Securelie:  surely. 

34,  4.  Substantive  clause,  object  of  trust. 
37,  I.  Tristil  tree:  trysting  tree,  rendezvous. 

37,  2.  Smale:  small;  smale  is  the  old  plural;  compare  82,  2. 

38,  2.  On  fere:  infere  (53,  3),  together. 

38,  3.  Eame's:  uncle;  compare  the  family  name  Eames,  Ames. 

38,  4.  Relative  clause;  what  is  the  subject? 

39,  2.  At  a  stage:  on  or  "from  a  story"  (Child);  or:  down  a  stretch 
of  road. 

40,  2.  Tithinges:  tidings. 

41,  2.  Courteis:  courteous.    Hende:  "handy,"  clever,  polite. 

42,  3.  Outlay:  outlaw;  lay  and  law  are  related  as  say(ing)  and  saw 
(wise  saws)  or  as  day  and  dawfn). 

45,  2.  "Humor,  by  the  bye,  begins  to  Hft  its  head  in  this  ballad."— 
Gummere.    Other  instances? 


_i27i  Notes  and  Comment  283 

47,4.  Soon:  immediately.    Compare  20,  2. 

48,  4.  For:  in  order  that. 

50,  2.  Hie:  haste. 

50,  3.  Should  be  dead:  had  to  die. 

52,  2.  Dwell:  stay,  wait,  put  off. 

53,  I.  Hem:  them;  compare  31,  3  and  note. 
53,  2.  Ling:  thin,  long  grass,  bent-grass. 

56,  2.  Mote  I  thee:  may  I  thrive;  th  of  thee  as  in  thin,  not  as  in 
the  pronoun  thee. 

57,  4.  After:  along. 

62,  4.  Relative  clause. 

63,  4.  Sawten:  assault. 

65,  2.  Did  off:  doffed;  doff  is  do  off. 

66,  I .  Antecedent  of  he? 
66,  I.  Fain  of:  taken  with. 

68,  I.  On  sleep:  asleep;  compare  afoot,  alive,  aboard. 

70,  4.  Bare:  bore,  forced. 

73,  4.  Common  bell:  town  bell. 

73,  4.  Made  he  ring:  caused  to  ring,  had  it  rung.  Other  examples 
of  made  in  this  sense? 

74,  2-3.  "Whether  he  who  could  bring,  etc.,  were  a  yeoman  or  a 
servant." 

74,  4.  Warison:  reward. 

75,  4.  Heng:  hang. 

76,  I.  Compare  note  on  73,  4.     Seek:  search. 

76,  2.  Stye:  alley,  narrow  street. 

77,  4.  Quit   thee:  make  amends,  requite  it. 
80,  3 .  Fellow :  comrade,  member  of  the  band. 
80,  4.  Keep:  care  to. 

82,  I.  Hem:  them,  themselves. 

82,  3.  Yeat:  eat  (like  yerl  for  earl)  or  get. 

86,  3.  Grith:  peace,  safe  conduct. 

89,  2.  In  street  and  stall:  abroad  and  at  home  (Child). 

90,  2.  I-wis:  certainly;  often  falsely  printed  I  wis,  as  if  present  of 
I  wist,  the  true  present  of  which  is  I  wot. 

Study 

To  which  of  the  two  Rf)bin  Hood  cycles  does  this  ballad  belong? 
What  traits  of  Robin's  character  and  what  stock  incidents  of  his 
story  appear  here?    What  characters  are  clearly  drawn?    Comment 


284  Notes  and  Comment  [Pp.  127- 

on  the  humor  in  this  ballad.  What  parts  of  the  story  must  we  supply? 
Is  this  for  the  same  reason  as  in  The  Cruel  Brother?  If  the  story  were 
told  as  in  the  last-named  ballad,  what  would  be  omitted  from  it? 
What  ballad  or  ballads  does  this  one  resemble  most  in  its  method  of 
telling  its  story? 

Repetition  like  that  in  stanzas  21-22  is  frequent  in  minstrel  or 
recited  ballads;  find  other  examples.  How  does  this  chain  repetition 
differ  from  the  incremental  repetition  of  the  choral  ballads? 

Note  the  number  of  "tags,"  as  17,  2,  used  only  to  fill  in. 

What  other  marks  of  minstrel  origin:  comment,  alliteration, 
benediction,  etc.?  The  alliteration  particularly  is  remarkable  and  is 
presumably  due  to  Danish  influence.    What  other  Danish  influence? 

Note  that  morning  (3,  2)  has  (secondary)  stress  on  second  syllable: 
are  there  many  such  words  in  this  ballad?  Have  there  been  any 
before?    Where? 

ROBIN  HOOD  AND  GUY  OF  GISBURN 

A  little  play,  written  before  (and  probably  a  century  before)  1475, 
is  founded  on  this  ballad  (Child)  or  at  least  has  the  same  plot.  There 
is  no  mention  made  of  Robin's  quarrel  with  Little  John.  On  the  other 
hand  (see  note  on  45,  3  ff.)  Robin  Hood,  in  the  play,  after  putting 
on  the  knight's  clothes,  meets  a  man,  from  whom  he  learns  that  the 
sheriff  has  taken  "Robin  Hood  and  his  meinie." 

Gisbum  is  in  western  Yorkshire  on  the  boimdary  of  Lancashire. 
For  the  pronunciation  see  note  34,  4. 

1,  I.  Shrads:  copses,  underwood,  brushwood. 

2,  I.  Woodweel:  woodwale,  woodpecker. 
2,  2.  Line:  lime-tree,  linden,  basswood. 

2,  3.  By:  of.  In  the  next  line  by  is  the  usual  preposition  of  oaths 
and  asseverations. 

3,  I.  Robin  Hood  has  had  a  dream.  The  dream  opening,  as  also 
the  May  morning  opening  (see  Robin  Hood  and  the  Monk),  are  Hterary. 

3,  I.  Methought:  it  seemed  to  me;  compare  23, 3.  I  thought,  etc., 
is  a  different  verb. 

6,  4.  Blend  of  two  constructions:  had  rather  be  and  would  most 
gladly  be. 

7,  3.  Capull:  horse;  compare  cavalry,  chivalry. 

9,  I.  "You  don't  think  much  of  me." 

10,  I.  "It  requires  no  skill,"  etc. 


-i34l  Notes  and  Comment  285 

II,  3.  See  note  on  45,  3  ff. 

11,  4.  See  Rohin  Hood  and  the  Monk,  16,  4. 

12,  2.  Heaviness:  sadness. 

16,  3-4.  For  the  antithesis  compare  the  old  proverb,  "When  bale 
is  highest,  boot  is  nighest." 

17,  I.  Shoot:  shot. 

20,  I .  Quoth  the  sheriff.  This  is  not  a  part  of  the  line,  but  merely 
thrown  in,  perhaps  spoken  where  the  rest  is  sung.     Explain  drawn. 

21,  Compare  Bewick  and  Graham,  24,  i,  and  note. 

22,  3.  "To  see  what  dealings  they  had  with  each  other." 

24,  1-2.  Wilful:  astray;  derived  from  wild  not  will.  "I  have  lost 
my  way  and  my  reckoning  of  time." 

26,  I.  Whether:  which  (of  two). 

27,  r.  Masteries:  trials  of  skill. 
27,  2.  Even:  together. 

27,  4.  Unset  Steven:  unappointed  time,  unexpectedly. 

28,  I.  Shrogs:  shrubs,  here  wands;  summer,  as  also  in  "a  wee 
simmer-dale  wanny"  (Child,  No.  82),  apparently  means  "of  one 
summer's  growth,"  hence  slender. 

28,  2.  The  rime  demands  the  older  form  brere. 

28: 
rangcj 

28 

29 

31 

34 

34 
the  I 

35 
38 
38: 
39 
39 
40, 
42 
42 
44 
45 


3.  In  tvs^in:  "between,"  apart  (one  being  at  each  end  of  the 


4.  The  prick  is  the  center,  then  the  target  as  a  whole. 

1.  Fellow:  comrade. 

2.  Garland:  wreath  hung  on  the  prick-wand. 
2.  Curst:  vicious,  fierce. 

4.  What  does  the  alliteration  show  as  to  the  pronunciation  of 
St  name? 
2.  Compare  9,  i. 

1.  Reachless:  reckless. 

2.  Tide:  time. 

1.  Whom  is  he  addressing? 

2.  May:  maiden,  virgin. 

3.  Compare  Bewick  and  Graham,  43,  2,  and  note. 

2.  Nicked:  hacked. 

3.  He:  the  man  .  .  .  (who). 
2.  Sir  Guy  is  indirect  (dative)  object. 
3  ff.  If  Robin  is  merely  returning  to  his  stamping  giound,  why 

does  he  assume  the  disguise?     (Practical  joke?)     If  he  assumes  the 
disguise  to  deceive  the  sheriff  (and  that  is  the  point  of  the  story  from 


286  Notes  and  Comment  [Pp.  134- 

here  on),  then  the  query  is,  How  did  he  know  that  the  sheriff  is  in 
Bamsdale  and  has  taken  Little  John  prisoner?  And  where  are 
Robin's  merry  men  all  this  time? 

50,  2.  Knave:  servant. 

51,  2.  Fee:  estate  given  by  and  held  under  an  overlord. 

52,  2.  Steven:  voice.    Same  word  as  in  27, 4! 
54,  2.  Me  is  dative  after  near:  "  so  near  me." 

54,  4.  "One  person  should  hear  another's  confession." 

56,  2.  Rawsty:  reasty  (i.  e.,  rancid)  or  rusty;  "clotted  with  blood 
at  the  feathered  end." 

57,  I.  Fifty  miles  away!     But  Nottingham  is  near  Sherwood. 

58,  4.  In  twin:  in  two. 

Study 

What  is  a  burden-stem?  Why  is  the  dream  introduced?  What 
stock  traits  and  incidents  appear  in  this  ballad?  Does  this  ballad 
belong  to  the  Barnsdale  or  the  Sherwood  cycle?  Where  have  the 
cycles  become  confused? 

Do  you  think  this  ballad  was  sung  by  a  chorus  or  by  a  reciter 
(minstrel)?  Why?  Compare  with  Robin  Hood  and  the  Monk  for 
"tags"  and  for  chain  repetition  from  one  stanza  to  another. 

Is  the  narrative  flow  anywhere  interrupted?  Is  the  plot  anywhere 
disturbed?  May  there  be  missing  stanzas?  Where?  Compare  with 
Bewick  and  Graham  for  action  and  for  character;  for  tragic  motive. 

Is  this  a  better  story  than  Johnie  Cock?  Is  it  told  better?  Compare 
them  for  choral  and  for  epic  treatment;  for  fierceness  of  passions. 
Which  would  lend  itself  better  to  dramatization? 

Point  out  artistic  touches  in  the  present  ballad:  36,  1-2  ("antici- 
pates Byron:  .  .  .  Childc  Harold,  i,  40,  1-2." — Child,  notes);  43,  3-4; 
51,  3-4,  etc.  Examine  Cheviot,  stanza  62,  in  the  light  of  note  on  20,  i 
of  this  ballad;  other  examples  in  Johnie  Armstrong. 

Compare  with  Robin  Hood  and  the  Monk  for  alliteration,  chain 
repetition,  secondary  accent. 


ROBIN  HOOD  AND  THE  CURTAL  FRIAR 

This  also,  like  the  Guy  of  Gishnrn  episode,  is  the  subject  of  a  popular 
play,  or  rather  of  the  first  half  of  it.  The  Play  of  Robin  Hood,  as  it  is 
called,  is  appended  to  two  sixteenth  century  editions  of  the  Gest  of 
Robin  Hood. 


-138]  Notes  and  Comment  287 

Curtal,  having  charge  of  the  garden;  but  apparently  referred  to 
cult,  hence  wearing  a  short  gown. 

I,  2.  How  are  we  to  understand  thirteen  here? 

1,  2.  I  say.  Child's  emendation  for  the  manuscript  reading  in 
May. 

2,  2.  Half  a  page  torn  out  of  the  Percy  Folio.  Robin  Hood  and 
his  men,  we  learn  from  the  garland  version,  compete  in  games.  Robin 
praises  Little  John. 

"I  would  ride  my  horse  an  hundred  miles. 
To  find  one  could  match  with  thee." 

That  caused  Will  Scadlock  to  laugh, 

He  laughed  full  heartily: 
"There  lives  a  curtal  friar  in  Fountains  Abbey 

Will  beat  both  him  and  thee." 

3,  4.  Gutted:  short-frocked;  see  note  on  curtal. 

4,  I.  Builded:  sheltered,  hid. 

4,  2.  Nunnery:  loosely  used  for  monastery. 

5,  I.  Fountains  Abbey  is  near  Ripon  in  Yorkshire. 
5,  2.  Whereas:  where. 

5,  4.  Can:  did. 

7,  I.  Wet.     Child  would  emend  to  well. 

8,  2.  Of:  during. 

9,  2,  4.  The  rime  was  either  drough:  enough  or  drow:  enow. 

II,  3.  Half-page  lost.  In  version  B,  the  friar  a  second  time  takes 
Robin  on  his  back,  carries  him  to  the  middle  of  the  stream  and  throws 
him  in.  Robin  shoots  all  his  arrows,  which  the  friar  wards  off.  After 
fighting  for  six  hours,  Robin  craves  a  boon,  three  blasts  of  his  horn. 
The  friai  consents,  and  adds: 

"I  hope  thou'lt  blow  so  passing  well 
Till  both  thy  eyes  fall  out." 

Robin  blows  and 

Half  a  hundred  yeomen,  with  bows  bent. 
Came  raking  over  the  lea. 

13,  4.  Convent:  assemblj',  assemblage. 


288  Notes  and  Comment  [Pp.  138- 

'    14-15.  In  version  B: 

"A  boon,  a  boon,"  said  the  curtal  friar, 

"The  Uke  I  gave  to  thee; 
Give  me  leave  to  set  my  fist  to  my  mouth, 

And  to  whute  whutes  three." 

"That  will  I  do,"  said  Robin  Hood, 

"Or  else  I  were  to  blame; 
Three  whutes  in  a  friar's  fist 

Would  make  me  glad  and  fain." 

14,  3.  Bid:  offer. 

16,  3.  Bandogs:  dogs  kept  on  a  chain  (band)  because  of  their 
fierceness. 

17.  The  two  lines  are  in  the  manuscript  marked  bis,  i.  e.  repeat. 
But  that  would  hardly  give  us  a  stanza.  S.omething  has  been  lost, 
but  not  as  at  three  other  points,  from  the  tearing  out  of  a  portion 
of  the  manuscript. 

21,  3.  Half-page  lost.  The  friar  doubtless  accepts,  as  in  version  B. 
But  from  the  comingjof  the  bandogs  the  two  versions  dififer  materially. 

Study 

To  which  cycle  does  this  belong?  Why?  What  stock  incidents, 
etc.,  occur?  How  does  the  humor  of  this  ballad  differ  from  that  of 
Robin  Hood  and  the  Monk?  Compare  the  beginning  of  this  ballad 
with  that  of  the  other  Robin  Hood  ballads.  Is  the  story  here  handled 
more  as  in  Johnic  Cock  or  as  in  the  Gisburn  ballad? 

THE  JOLLY  PINDER  OF  WAKEFIELD 

George  a  Greene,  the  Pinner  of  Wakefield,  as  he  is  called  in  the 
title  of  Robert  Greene's  play,  was  almost  as  famous  in  his  day  as 
Robin  Hood.  As  town  pinner  or  pinder  it  was  his  duty  to  impound 
stray  cattle,  etc.,  and  to  arrest  trespassers.  One  of  his  adventures 
was  with  Robin  Hood,  Scarlet,  and  John  (or  Much),  whom  he  beats 
one  after  another.    Our  fragment  gives  only  the  ending  of  the  story. 

Wakefield  was  a  place  in  southern  Yorkshire  to  which  belongs  one 
of  the  four  cycles  of  mystery  plays  that  have  come  down  to  us.  The 
plays  are  known  as  the  Towneley  mysteries  from  the  name  of  the 
family  owning  the  manuscript. 


-1421  Notes  and  Comment  289. 

2,  I.  Meat:  food,  anything  to  eat. 

4,  6.  Picklory:  a  kind  of  doth. 

5,  I.  Michaelmas:  the  feast  of  St.  Michael  and  all  the  Angels, 
September  29.    An  English  quarterday. 

5,  3.  Set  ...  by:  care  for. 

Stxjdy 
Compare  with  the  previous  ballad,  using  the  questions  there  given. 

ROBIN  HOOD'S  DEATH 

Here  again  three  half  pages  are  missing  from  the  Percy  Manuscript. 
But  even  if  we  had  them  the  story  would  probably  present  some 
difficulties.    Nor  does  the  garland  version  help  us  much. 

I  ff.  Version  B  has  a  different  beginning: 

When  Robin  Hood  and  Little  John 

Down  a  down  a  down  a  down 

Went  o'er  yon  bank  of  broom. 
Said  Robin  Hood  bold  to  Little  John, 

"We  have  shot  for  many  a  pound. 

Hey  down  a  down,  etc. 

"But  I  am  not  able  to  shoot  one  shot  more. 

My  broad  arrows  will  not  flee; 
But  I  have  a  cousin  lives  down  below. 

Please  God,  she  will  bleed  me." 

2,  I.  Read:  advise. 

6,  I.  You'st:  you  shall;  'st  should  be  for  hast;  the  st  for  s  may  be 
due  to  must. 

6,  2.  Nor:  read  "and"  with  Child. 

7,  4.  "(Being)  laid." 

8,  2.  "Out  of  her  proper  malignity,  surely,  or  because  she  is  a 
hired  witch,  for  Robin  is  the  friend  of  lowly  folk.  But  if  this  woman 
is  banning,  others  no  doubt  women,  are  weeping,  for  somehow 
they  .  .  .  foresee  that  ill  wiU  come." — Child. 

8,  3.  Half -page  missing. 

9,  2.  See  note  on  8,  2. 

12,  2.  Confusion  between  knocking  on  the  door  and  tirling  at  the 
pin  (i.  e.,  shaking  the  latch). 


290  Notes  and  Comment  [Pp.  142- 

13,  4.  Note  the  rime,  which  is  perfect. 

14,  2.  Dk:  same  (moment).  How  did  this  word  ever  come  to  mean 
kind? 

17.  Compare  The  Jew's  Daughter,  stanza  8.  One  expects  the 
same  ending  here;  "but  Robin  is  not  dead  yet,  and  the  singer  is 
wary." — Gummere. 

17,  4.  How  did  he  know  it? 

In  version  B  at  this  point,  Robin  "blew  out  weak  blasts  three." 

Then  Little  John,  when  hearing  him, 

As  he  sat  under  a  tree: 
"I  fear  my  master  is  now  near  dead. 

He  blows  so  wearily." 

He  runs  to  his  aid,  breaking  "locks  two  or  three."  The  rest  of  the 
story  as  in  our  stanza  24  ff.  There  is  no  mention  of  Red  Roger  and 
his  illicit  love  affair  with  the  prioress,  but  our  version  agrees  here  with 
the  Gest. 

19,  1-2.  Who  speaks  these  words?  Green  is  the  outlaws'  color, 
and  a  short  gown  would  be  of  advantage  in  leaping  from  the  window. 

20,  I.  Shop:  shaped,  carved;  but  probably  shot-window  is  meant, 
an  unglazed  window  often  found  in  stair-cases. 

20,  2.  Could:  did;  could  is  for  can  which,  in  this  sense,  is  for  gan. 

20,  3.  Grounding  glaive:  ground  (?)  sword.  Robin  apparently 
falls  into  Roger's  hands  when  he  leaps.  John  is  probably  waiting  for 
him  at  another  window. 

20,  4.  The  milk-white  sides  are  characteristic  of  the  heroes  of  the 
older  ballads,  who  are  all  people  of  ciuality. 

21,  2.  "And  thought  to  lower  Roger's  pride." 

22,3.  Housle:  shrift,  confession,  extreme  unction.  Roger  has 
died  "with  his  sins  upon  him;  Robin  can  still  confess." 

23,  I.  Mood:  courage,  encouragement;  but  Child  suggests  reading 
"  God,"  i.  e.,  the  host  given  in  extreme  unction. 

23,  4.  "Even  though  it  is  not  given  me  by  a  priest." 

26,  2.  Street:  road,  highway. 

26  ff.  Compare  version  B. 

"But  give  me  my  bent  bow  in  my  hand. 
And  a  broad  arrow  I'll  let  flee; 
And  where  this  arrow  is  taken  up, 
There  shall  my  grave  digged  be. 


-145]  Notes  and  Comment  29 1 

"Lay  me  a  green  sod  under  my  head. 

And  another  at  my  feet; 
And  lay  my  bent  bow  by  my  side. 

Which  was  my  music  sweet; 
And  make  my  grave  of  gravel  and  green. 

Which  is  most  right  and  meet." 

Study 

Compare  the  bejrfnning  with  that  of  version  B ;  of  Robin  Hood  and 
Guy  of  Gisburn.  Who  is  the  yeoman  of  3,  i?  What  characters  are 
contrasted  in  this  ballad?    What  use  is  made  of  foreshadowing? 

What  does  Gummere's  comment  on  stanza  17  indicate  as  to  tiie 
rationalizing  influence,  or  logical  check,  of  some  individual  singer  or 
reciter?  Do  we  find  such  checks  in  the  oldest  ballads?  Point  out 
some  instances  where  they  are  wanting.  How  else  does  this  ballad 
differ  from  the  oldest  ballads?  Do  any  of  the  Robin  Hood  ballads 
seem  to  have  been  choral  ballads? 

If  you  have  recently  read  Ivanhoc  or  As  Yon  Like  It,  show  the 
influence  there  of  the  Robin  Hood  tradition. 


AMERICAN  BALLADS 

In  communities  living  apart  and  living  a  life  the  tenor  of  which  is 
much  the  same  for  all,  ballads  are  still  cherished  and  made.  In  the 
mountains  of  Tennessee  and  Kentucky  ^  are  still  sung  the  ballads 
brought  over  from  the  British  Isles,  seventy-six  (or  more)  of  the  three 
hundred  five  in  Child.  Ballads  are  made,  too,  but  ballad  creation  is 
more  vigorous  among  the  Negroes  of  the  South,  the  cowboys,  the 
lumberjacks,  in  the  ghettos  of  our  great  cities,  etc. 

These  ballads,  like  the  traditionals,  are  simple  and  "sing  them- 
selves," they  lie  close  to  the  heart  of  the  community  from  which  they 
spring,  and  they  are  changed  as  they  pass  from  mouth  to  mouth. 
But  they  have  little  or  no  connection  with  dance  or  dramatic  repre- 
sentation, they  are  not  built  up  of  repetition  or  dialogue,  they  tend 

^  See  "Song-Ballets  and  Devil's  Ditties"  by  W.  A.  Bradley  in  Harper's 
Monthly  for  May,  1915.  "'It  was  not  until  I  read  a  volume  of  early  English 
ballads,'  said  a  mountain  woman  who  had  received  a  better  education  and 
lived  a  life  less  shut-in  than  the  majority  of  her  sisters,  '  that  I  had  any  idea 
what  the  songs  really  were  that  wc  used  to  sing  here  in  the  hills  when  we 
were  children.'" 


^9^  Notes  and  Comment  IPp.  145- 

tovvard  song  and  monologue  rather  than  story.  The  community  is 
no  longer  dancing  and  singing  itself  into  a  ballad,  but  is  merely  singing 
about  itself  in  some  type-form  of  character. 

See  also  the  notes  on  Little  Moccasins  and  Oliver  West. 

Probably  the  most  popular  of  all  American  ballads  is  the  coronach 
of  Jesse  James.    It  begins  (Lomax's  Cowboy  Songs) : 

Jesse  James  was  a  lad  that  killed  a-many  a  man; 
He  robbed  the  Danville  train. 
But  that  dirty  little  coward  that  shot  Mr.  Howard 
Has  laid  poor  Jesse  in  his  grave. 

Poor  Jesse  had  a  wife  to  mourn  for  his  life, 
Three  children,  they  were  brave. 
But  that  dirty  little  coward  that  shot  Mr.  Howard 
Has  laid  poor  Jesse  in  his  grave. 

It  was  Robert  Ford,  that  dirty  little  coward, 
I  wonder  how  he  does  feel, 

For  he  ate  of  Jesse's  bread  and  slept  in  Jesse's  bed, 
Then  laid  poor  Jesse  in  his  grave. 

Jesse  was  a  man,  a  friend  to  the  poor. 

He  never  would  see  a  man  suffer  pain; 

And  with  his  brother  Frank  he  robbed  the  Chicago  bank. 

And  stopped  the  Glendale  train. 

and  ends,  after  five  more  thin  chronicle  stanzas : 

Jesse  went  to  his  rest  with  his  hand  on  his  breast; 
The  devil  will  be  upon  his  knee, 
He  was  born  one  day  in  the  county  of  Clay 
And  came  from  a  solitary  race. 

This  song  was  made  by  Billy  Gashade, 

As  soon  as  the  news  did  arrive; 

He  said  there  was  no  man  with  the  law  in  his  hand 

Who  could  take  Jesse  James  when  alive. 

The  ballad  of  Jesse  James  is  sung  all  over  Missouri,  Kentucky, 
Tennessee,  and  the  Southwest.  The  collectors— Professor  Lomax, 
Professor  Perrow,  of  the  University  of  Louisville,  Professor  Shearin, 
of  Hamilton  College  of  Transylvania  University,  Professor  Beldon, 
of  the  University  of  Missouri,  Professor  Miller,  of  Wabash  College — 
all  account  for  the  popularity  by  the  fact  that  like  Robin  Hood,  Jesse 
James  is  regarded  by  those  who  sing  of  him  as  one  of  their  kind,  a 


-147]  Notes  and  Comment  293 

man  who  defied  authority  and  was  a  friend  of  the  poor.    The  folk 
still  sees  itself  in  its  heroes. 

Something  the  heart  must  have  to  cherish. 
Must  love  and  joy  and  sorrow  learn, 

Something  with  passion  clasp,  or  perish. 
And  in  itself  to  ashes  bum. 

Longfellow. 

THE  OLD  CHISHOLM  TRAIL 

"As  long  as  the  old  cattle  trail  from  Texas  to  Montana,"  says 
Professor  Lomax.  One  cowboy  sang  to  him  a  version  containing  a 
hundred  forty-three  stanzas. 

The  ballad  fairly  "gives  a  dare"  to  improvisation.  Its  framework 
is  loose  and  capacious,  its  characteristic  stanzas  lend  themselves 
readily  to  imitation  and  parody. 

What  is  the  ballad  about?  What  is  the  story  of  the  ballad?  What 
stanzas  carry  the  story?  What  do  the  other  stanzas  do?  What 
stanzas  would  be  likely  to  have  changes  rung  on  them?  Illustrate  by 
making  new  stanzas.  Note  the  strongly  marked  rhythm  and  sharp 
cesura. 

2,  2.  2-U:  short  for  "Two  Bar  U,"  =  U,  brand  of  the  owner  of  the 
herd;  a  different  short  form  occurs  in  15,  2. 

9,  I.  Chaps:  short  for  chaparejos,  leather  overalls. 

10,  2.  Hung  and  rattled:  "staid  right  with  'em,"  to  keep  them  to- 
gether.   The  two  verbs  do  not  apparently  have  independent  meaning. 

15,  2.  Two  Bars:  see  note  to  2,  2  above. 

18,  I.  Roll:  roll  of  bedding  (and  clothing).  In  the  next  stanza  roll 
means  money,  pay. 

19.  The  dishonesty  of  bosses  in  overcharging  for  supplies  is  a 
frequent  complaint  of  cowboy  song.  Many  states  have  passed  laws 
protecting  men  who  work  in  gangs  and  live  in  camps  from  being  thus 
exploited  by  the  overseer  or  the  "company  store." 


UTAH  CARROLL 

This  is  evidently  a  different  sort  of  ballad.  It  was  made,  it  did  not 
make  itself.  The  story  is  the  main  thing;  if  the  ballad  was  sung  at 
all,  such  a  stanza  as  the  fifth  must  have  gone  badly  to  any  tune  that 
carried  the  second  and  third.     Why?    And  then  the  story  as  it  stands 


294  Notes  and  Comment  [Pp.  147- 

is  fairl}-  complete;  it  could  not  be  added  to  or  subtracted  from  ad  lib. 
like  the  story  of  the  preceding  ballad. 

But  as  a  composition  it  is  journeyman  work,  and  withal  close  to  the 
ways  of  life  and  thought  which  it  reflects.  A  study  of  its  language, 
rimes,  and  rhetoric  will  show  that  it  is  more  like  Bewick  and  Graham 
than  like  Oliver  West  or  How  They  Brought  the  Good  News  from  Ghent 
to  A  ix. 

Professor  Lomax  in  answer  to  an  inquiry  about  this  ballad  writes: 
"Utah  Carroll  is  an  incomplete  version  of  a  song  that  I  was  never 
able  to  get  in  a  perfect  form.  As  well  as  I  can  figure,  the  blanket  was 
not  a  saddle-blanket,  but  a  sleeping  blanket  often  carried  tied  to  a 
cowboy's  saddle  and  sometimes  gay  colored.  The  girl  was  trying  to 
turn  the  cattle,  not  run  from  them,  and  turned  her  pony  a  moment  to 
tie  back  in  place  the  blanket,  probably  red,  that  had  become  loosened 
and  whose  flapping  would  only  frighten  the  cattle  further.  As  I  say, 
the  song  is  incomplete,  poor  in  rhythm,  and  not  wholly  clear  in 
narrative." 

Compare  the  plot  with  the  simple  situation  of  the  pre\dous  ballad. 
What  do  we  learn  about  cowboy  life  in  each  of  these  ballads?  Com- 
ment on  the  rimes  of  stanzas  2  and  7.  Comment  on  the  use  of  ad- 
jectives in  "Mexico's  fair  lands"  and  "his  fatal  end."  Where  does 
the  author  evince  literary  skill,  where  does  he  lack  it?  Study  the 
rhythm  and  the  cesura. 

4,  I.  Holding:  guarding  the  cattle  to  keep  them  together. 

4,  2.  Rushed:  rode  toward  the  cattle  to  prevent  a  break. 

4,  3.  Turned  her  pony  a  pace :  see  the  letter  from  Professor  Lomax 
above. 

5,  4.  Trail  rope:  a  rope  trailing  from  the  head  of  some  animal 
chased  by  Utah. 

7,  I.  Cinches:  saddle-girths. 

9,  3.  Broke  the  circle.  "The  cattle  were  all  jammed  around  Utah 
and  the  dead  leading  steer  trying  to  get  at  the  blanket.  They  had 
thus  honied  and  tramped  Utah  to  death.  He  had  probably  shot 
the  leading  steer  with  the  thought  of  protection  from  its  body. 
It  would  take  time  to  get  the  jam  of  maddened  cattle  broken." — 
(Mrs.  Delia  Emmert.) 

THE  ZEBRA  DUN 

Apply  to  this  ballad  what  has  been  said  about  the  preceding  one. 
How  does  this  one  differ  from  both  the  preceding  ones?    Wliich  one 


-153]  Notes  and  Comment  295 

does  it  resemble  most  in  form  and  method?  Which  one  most  in  lan- 
guage and  spirit?  What  does  it  tell  us  about  cowboy  life?  Compare 
this  ballad  with  the  humorous  ballads  you  have  studied. 

WHOOPEE  TI  YI  YO,  GIT  ALONG,  LITTLE  DOGIES 

Like  The  Old  Chisholm  Trail  this  is  a  song  rather  than  a  ballad.  It 
is  always  a  favorite  with  audiences  when  Professor  Lomax,  in  his 
lecture  on  cowboy  songs,  can  be  prevailed  upon  to  sing  it. 

Dogies  (rime  with  bogeys)  are  the  yearling  runts  who  trail  after 
the  herd  and  are  a  most  frequent  source  of  trouble  to  the  herders. 

I  have  circle-herded,'  trail-herded,  night-herded,  and  cross-herded,  too, 

But  to  keep  you  together,  that's  what  I  can't  do; 

My  horse  is  leg-weary  and  I'm  awful  tired, 

But  if  I  let  you  get  away  I'm  sure  to  get  fired, — 

Bunch  up,  little  dogies,  bunch  up. 

{"Cowboy  yodel")  Hi-oo,  hi-oo,  oo-oo 

O  say,  little  dogies,  when  you  goin'  to  lay  down 

And  quit  this  forever  siftin'  around? 

My  limbs  are  weary,  my  seat  is  sore; 

Oh,  lay  down,  little  dogies,  like  you've  laid  before, — 

Lay  down,  little  dogies,  lay  down. 

Hi-oo,  hi-oo,  00-00 

Harry  Stephens:  Night-IIerding  Song. 

Study  rhythm  and  cesura:  compare  with  The  Old  Chisholm  Trail. 


NEW  BALLADS 

The  ballad  of  literary  production  is  a  result  of  the  study  of  the 
popular  ballad.  Before  the  eighteenth  century  poets  wrote  almost 
nothing  that  might  be  called  ballad.    In  such  a  representative  col- 

1  Circle-herding  is  driving  the  cattle  toward  a  central  place  of  meeting. 
Trail-herding  or  "riding  trail"  is  driving  the  cattle  along  the  trail  from  sum- 
mer to  winter  pastures  and  the  like,  keeping  them  out  of  swamps  and  holes, 
etc.  Night-herding  is  self-explaining;  the  cattle  at  night  are  allowed  to 
graze  but  must  be  kept  together.  Cross-herding  seems  to  be  a  special  phase 
of  Irail-hcrditig,  riding  back  and  forth  across  the  trail,  keeping  the  cattle 
from  drifting  into  brjkcu  {groups,  holding  back  some  and  urging  others  on. 


296 


Notes  and  Comment  [Pp.  153- 


lection  as  Ward's  English  Poets  we  find  only  two  likely  specimens, 
Robert  Southwell's  The  Burning  Babe  and  Michael  Drayton's  A  gin- 
court,  both  about  1600.  Allan  Ramsay's  Tea-Table  Miscellany 
(1724-27),  which  was  a  more  pretentious  sort  of  garland,  was  perhaps 
the  first  publication  to  attract  the  attention  of  verse-writers  to  the 
charm  of  simple  ballads.  But  the  chief  impulse  was  given  by  Percy's 
Reliqucs  (1765).  For  one  thing  the  literary  world  was  tiring  of  the 
classicism  of  Dryden  and  Pope  and  was  striving  for  greater  natural- 
ness and  simplicity  and  for  a  broader  humanity.  Country  life  became 
a  favorite  theme;  and  Gray's  phrase,  "the  simple  annals  of  the  poor," 
and  Burns's,  "a  man's  a  man  for  a'  that,"  reflect  the  spirit  of  the  age. 
The  study  of  ballads  and  the  writing  of  ballads  thus  became  a  phase 
of  the  romantic  movement. 

There  is  a  second  fact  worth  noting.  Many  of  the  names  we  shall 
now  introduce  will  be  unfamiliar  to  the  student,  and  many  of  the 
familiar  names  will  be  missed.  The  poets  who  wrote  ballads  were  not 
usually  the  greatest  poets.  But  they  were,  as  the  greater  poets  were 
not,  poets  of  the  people.    They  knew  how  to  strike  the  popular  tone. 

The  significance  of  these  two  facts  seems  to  be  that  the  ballad  never 
broke  the  ties  that  bind  it  to  humbler  life.  Even  after  it  has  found  a 
place  in  literature,  it  is  like  the  vizier  in  the  oriental  tale,  who  kept 
in  a  secret  chamber  the  crook  and  pipe  of  his  earlier  shepherd  days, 
resorting  to  them  daily  to  refresh  and  strengthen  himself  for  the 
duties  of  state. 

But  the  ballads  we  shall  now  take  up,  though  they  show  the  good 
old  yeoman  stock  of  popular  balladry,  are  after  all  works  of  literature. 
They  were  conceived  and  elaborated  by  men  whose  tastes  and  habits 
of  thought  we  know  or  can  inform  ourselves  about.  They  bear  the 
stamp  of  the  author  and  the  artist.  This  will  be  seen  in  some  one  or 
more  of  the  following  marks: 

1.  Details  necessary  to  the  plan  of  the  poem  are  given. 

2.  Repetition  is  used,  if  at  all,  for  some  conscious  purpose. 

3.  Commonplaces  are  avoided,  originality  striven  for. 

4.  Conscious  choice  of  words  and  turns  of  phrase. 

5.  Description  is  common. 

6.  Figures  of  speech  are  common. 

7.  Lines  are  broken  for  greater  dramatic  effect;  but  the  lyric 

quality  is  impaired. 

8.  Refrain  is  rare  and  used  only  when  it  emphasizes  the  idea  of 

the  poem. 


-156J  Notes  and  Comment  297 

g.  Reflections  and  moral  observations  are  made. 

10.  Allusions  and  references  to  history  and  literature  occur. 

It  will  usually  not  be  difficult  to  see  that  the  poet  knows  what  he 
wants  to  do  and  how  to  do  it.  This  is  art.  These  differences  between 
popular,  or  folk,  poetry  and  the  poetry  of  art  should  be  carefully 
studied.  The  understanding  of  them  will  give  a  keener  appreciation 
of  both  kinds  of  poetry. 

THE  WRECK  OF  THE  HESPERUS 

Longfellow  (1807-1882)  has  written  several  excellent  ballads  be- 
sides translating  a  number  from  the  Danish,  German,  and  Spanish, — 
a  body  of  balladry  easily  accessible  to  most  students  for  further 
reading. 

The  poet  wrote  in  his  diary,  December  30,  1839:  "I  sat  till  twelve 
o'clock  by  my  fire,  smoking,  when  suddenly  it  came  into  my  mind  to 
write  The  Ballad  of  the  Schooner  Hesperus.  ...  I  feel  pleased  with 
the  ballad.  It  hardly  cost  me  an  effort.  It  did  not  come  into  my 
mind  by  lines,  but  by  stanzas."  We  can  easily  believe  this  story  of 
improvisation.  But  we  may  be  sure  the  poem  came  by  stanzas  only 
because  the  poet  was  used  to  making  such  lines  as  compose  the 
stanzas.  The  poem  reads  like  an  old  ballad.  Why?  But  when  we 
look  closer  we  see  abundant  evidence  of  Longfellow's  literary  crafts- 
manship. Specify.  Are  stanzas  4  and  5  such  units  as  we  should 
expect  from  the  above  account? 

Explain :  schooner,  veering  flaw,  Spanish  Main,  cable,  spar,  helm, 
reef,  surf,  breakers,  stove.  Why  is  the  skipper's  daughter  introduced 
into  the  story?  How  and  why  are  additional  characters  introduced 
into  The  Cruel  Brother,  The  Twa  Sisters,  and  Babylon?  Try,  by  sup- 
plying a  character,  to  develop  the  story  of  The  Bonny  Lass  of  Anglesey, 
The  Devil  and  the  Girl,  or  some  other  one  of  the  old  ballads.  Point  out 
influence  of  Sir  Patrick  Spens,  Chevy  Chase,  etc.  What  peculiarities 
of  language  and  what  use  of  dialogue  suggest  influence  o'f  the  old 
ballads?  What  is  the  reference  to  the  Lake  of  Galilee?  Did  you  find 
such  references  in  the  old  ballads?  Do  you  find  anything  like  the 
following  in  the  first  dozen  ballads  of  our  collection:  stanza  2,  stanza 
14,  stanza  18,  and  the  adjectives  and  figures  in  stanzas  6,  7,  13,  15, 
etc.?  What  particularly  fine  figure  in  stanza  16?  Could  the  fisher- 
man really  have  distinguished  "the  salt  sea  .  .  .  frozen  on  her 
breast,  the  salt  tears  in  her  eyes?  " 


298  Notes  and  Comment  [Pp.  156- 


LORD  ULLIN'S  DAUGHTER 

Campbell  (17  7 7- 1844),  though  not  a  poet  of  the  people  like  Long- 
fellow, was  immensely  successful  with  his  ballads.  Lord  Ullin's 
Daughter  was  suggested  to  Campbell  during  a  visit  to  the  island  of 
IMuli,  west  of  which  lies  the  smaller  island  of  Ulva.  It  may  be  com- 
pared with  The  Douglas  Tragedy.  It  presents  a  simple  situation  in 
simple  language  and  in  nervous,  singable  verse.  But  Campbell  was 
a  literary  man,  this  is  his  work,  we  have  to  take  account  of  his  skill 
and  care.  He  has  seen  to  it  that  the  story  is  complete,  connected, 
and  dramatic.  His  descriptions  are  carefully  wrought.  The  language, 
though  simple,  is  epigrammatic  and  antithetic.  The  care  with  which 
he  has  carried  the  feminine  rhym,es  through  shov/s  the  polish  of  all 
of  Campbell's  work. 

Explain:  Ulva's  Isle  (see  above),  water-wraith.  Compare  with 
The  Douglas  Tragedy.  Which  ballad  tells  its  story  better?  Which  has 
more  description?  Is  the  description  deliberate  and  with  an  eye  to 
effect?  Which  story  is  the  more  tragic?  Where  does  the  "tragic 
fault"  lie?  Where  and  how  has  Campbell  sentimentalized  his  story? 
Give  examples  of  epigrammatic  turn  of  phrase  and  antithesis.  How 
does  the  verse  differ  from  that  of  The  Douglas  Tragedy?  Does  Camp- 
bell's ballad  have  any  or  as  many  colorless  lines  (fillers)?  Compare 
the  verse  with  that  of  St.  Stephen  and  Herod.  Do  you  think  Campbell 
dehberately  employed  internal  rime  in  6,  i;  8,  3;  12,  i;  14,  3?  For 
what  purpose? 

LOCHINVAR 

A  good  part  of  Scott's  life  may  be  summed  up  in  the  word :  ballads. 
His  first  published  work  was  a  translation  of  Biirger's  Lenore,  he 
collected  ballads  {Minstrelsy  of  the  Scottish  Border),  he  retouched 
ballads  {Kinmont  Willie),  he  remodeled  ballads  (Lochinvar),  he  com- 
posed ballads  of  his  own,  he  adapted  ballad  meters  to  use  in  long 
narrative  poems.  He  caught  the  spirit  of  folk  balladry  and  preserved 
it  even  in  Hterary  forms. 

Young  Lochinvar  is  Lady  Heron's  song  in  the  fifth  canto  of  Mar- 
mion.  It  is  based  on  Katharine  Janfaric;  but  the  bride  is  English, 
Netherby  Hall  being  in  Cumberland. 

2,  2.  The  Eske  (Esk)  is  the  border  river  flowing  into  Solway  Firth. 

4,  2.  Solway.    The  tides  in  Solway  Firth  are  strong  and  rapid;  at 


-i6o]  Notes  and  Comment  299 

ebb-tide  the  flats  are  laid  bare  and  it  is  possible  to  cross  on  them  from 
Kirkcudbrightshire  in  Scotland  to  Cumberland. 

8,  1-2.  Scott  loves  to  roll  out  the  names  of  border  clans.  Com- 
pare OUerbiirn,  stanza  2,  note. 

Explain:  brake,  measure,  galliard,  bonnet,  croupe,  scaur.  Compare 
Young  Lochinvar  and  Katharine  Janfarie.  What  are  the  marks  of 
popular  origin  in  the  latter,  of  Scott's  authorship  in  the  former? 
Which  tells  the  story  more  effectively?  Which  gives  more  character 
description?  How  is  the  Lochinvar  ballad  suited  to  Lady  Heron? 
Would  Katharine  Janfarie  have  served  as  well?  What  suggestion  of 
Hind  Horn?  Point  out  the  rhetorical  question  and  other  rhetorical 
devices  used  by  Scott.  How  is  the  galloping  effect  of  the  meter  ob- 
tained? What  suggestion  of  refrain?  Campbell  was  forever  polishing 
his  work,  Scott  was  proverbially  careless  in  writing.  Is  this  difference 
evident  in  the  two  poems  just  studied? 


THE  GLOVE  AND  THE  LIONS 

This  is  a  story  of  Francis  I  of  France  which  has  often  been  told,  in 
verse  e.  g.  by  Schiller,  Leigh  Hunt,  and  Browning. 

Leigh  Hunt  (i 784-1 859)  "excelled  especially  in  narrative  poetry, 
of  which,  upon  a  small  scale,  there  are  probably  no  better  examples 
in  our  language  than  'Abou  ben  Adhem'  and  'Solomon's  Ring.'" — 
Britaiinica.  The  former  of  these,  an  oriental  apologue,  is  given  here 
for  comparison. 

ABOU  BEN  ADHEM 

Abou  Ben  Adhem  (may  his  tribe  increase!) 

Awoke  one  night  from  a  deep  dream  of  peace, 

And  saw  within  the  moonlight  in  his  room. 

Making  it  rich  and  like  a  lily  in  bloom, 

An  angel  writing  in  a  book  of  gold: — 

Exceeding  peace  had  made  Ben  Adhem  bold, 

And  to  the  presence  in  the  room  he  said, 

"What  writest  thou?  "    The  vision  raised  its  head. 

And,  with  a  look  made  all  of  sweet  accord, 

Answered,  "The  names  of  those  who  love  the  Lord."  y 

"And  is  mine  one?"  said  Abou.    "Nay,  not  so," 

Replied  the  angel.    Abou  spoke  more  low. 

But  cheerly  still;  and  said,  "I  pray  thee,  then. 

Write  mc  as  one  that  loves  his  fellow-men." 


300  Notes  and  Comment  [Pp.  i6o- 

The  angel  wrote,  and  vanished.    The  next  night 

It  came  again,  with  a  great  wakening  Hght, 

And  showed  the  names  whom  love  of  God  has  blessed, — 

And,  lo!    Ben  Adhem's  name  led  all  the  rest! 

In  what  respect  does  The  Glove  and  Ihe  Lions  resemble  an  apologue? 
Why  would  it  probably  not  be  called  an  apologue?  Why  hAhou  Ben 
Ad  hem  not  a  ballad?  How  can  the  lines  of  The  Glove  be  arranged  so 
as  to  get  twelve  ballad  stanzas?  Why  is  the  author's  arrangement 
preferable?  What  part  does  the  king  play  in  the  ballad?  Does  the 
opening  line  give  an  intimation  of  the  end?  What  impression  is  made 
by  the  playing  with  the  internal  rime  glove:  love?  How  does  the 
similar  rime  in  the  first  stanza  outline  the  story  for  us?  Do  you 
think  Leigh  Hunt  merits  his  reputation  for  cleverness? 

THE  LAIRD  O'  COCKPEN 

Caroline,  Baroness  Nairne  (1766-1845),  belonged  both  by  birth 
and  marriage  to  several  of  the  most  prominent  Jacobite  families,  i.  e., 
families  which  in  1745  supported  the  pretensions  of  Charles  Edward 
Stuart  to  the  English  throne.  It  was  for  Charles  that  she  was  named 
Caroline.  Many  of  her  songs,  the  authorship  of  which  she  kept 
secret  even  from  her  husband,  were  written  and  sung  by  her  to 
Jacobite  tunes,  to  cheer  the  old  age  of  her  maternal  grandfather, 
Duncan  Robertson. 

Lady  Nairne  caught  the  folk-tone  in  a  number  of  songs  and  ballads. 
Bums  has  nothing  finer  than  The  Land  0'  the  Leal,  and  neither  Scott 
nor  Campbell  produced  a  better  ballad  than  The  Laird  o'  Cockpen. 
There  is  no  better  humorous  ballad  anywhere.  The  ballad  was  sug- 
gested to  the  author  by  a  snatch  of  Scotch  song: 

When  she  cam  ben,  she  bobbit, 

When  she  cam  ben,  she  bobbit, 

When  she  cam  ben,  she  kissed  Cockpen, 

And  syne  denied  that  she  did  it. 

Mistress  Jean  also  might  have  "bobbit"  (curtsied),  but  Lady  Nairne 
chose  the  more  decorous  "  bow'd  fu'  low."  The  ballad  is  often  printed 
with  two  concluding  stanzas  by  Miss  Ferrier,  a  Scotch  novelist. 

And  now  that  the  laird  his  exit  has  made. 
Mistress  Jean  she  reflected  on  what  she  had  said: 
"Oh,  for  ane  I'll  get  better,  it's  waur  I'll  get  ten, 
I  was  daft  to  refuse  the  laird  o'  Cockpen." 


-i66]  Notes  and  Comment  301 

Next  time  that  the  laird  and  the  lady  were  seen, 
They  were  gaun  arm-in-arm  to  the  kirk  on  the  green: 
Now  she  sits  in  the  ha'  like  a  weel-tappit  hen, 
But  as  yet  there's  nae  chickens  appear'd  at  Cockpen. 

Compare  the  humor  of  the  ballad  with  that  of  The  Gay  Gosliawk  and 
Get  Up  and  Bar  the  Door.  Explain  the  humor  of  stanza  2,  line  4; 
stanza  3,  Hne  4;  stanza  7,  hne  4.  Comment  on  the  character  descrip- 
tion.   Do  you  think  the  additional  stanzas  improve  the  ballad? 


THE  COURTIN' 

This  ballad  opens  the  second  series  of  the  author's  Biglow  Papers. 
In  an  extended  preface  Lowell  (1819-1891)  discusses  the  use  of  the 
New  England  dialect  in  these  poems  and  notes  many  interesting  facts 
concerning  so-called  Americanisms  of  speech.  The  student  will  read- 
ily understand  that  while  many  of  our  old  ballads  are  in  dialect,  they 
are  not  dialect  ballads,  as  this  is:  there  the  dialect  is  the  natural  ex- 
pression of  the  singer,  here  it  is  assumed  for  a  purpose.  What  may 
that  purpose  be?  Compare  The  Courtin'  with  other  humorous  ballads. 
WTiat  descriptions,  comments,  etc.,  would  not  be  found  in  the  older 
ballads?    Compare  the  feminine  rimes  with  those  of  Campbell. 

5,  I .  Crook-necks :  crooked  neck  squashes.  Peppers,  onions,  etc., 
were  hung  up  and  dried  for  winter  consumption. 

3,3.  Queen's-arm:  musket. 

5,  4.  Concord.    What  is  the  allusion? 

II,  3.  Ole  Hunderd:  the  tune  of  the  looth  Psalm  in  the  old  Scotch 
metrical  psalter;  it  is  the  tune  to  which  the  well-known  doxology  of 
T.  Ken  is  sung. 

24,  2.  The  Bay  o'  Fundy.  The  tides  in  the  Bay  of  Fundy  are  very 
high. 

24,  3-4.  "Their  marriage  banns  were  published  at  church  the 
following  Sunday." 


ELEGY  ON  THE  DEATH  OF  A  MAD  DOG 

What  is  an  elegy?  Why  is  this  poem  called  an  elegy?  In  what 
sense  is  it  a  ballad?  In  what  does  the  humor  consist?  Compare  with 
the  other  humorous  ballads.  Has  the  poem  a  popular  ring?  Can  you 
name  any  other  jwems  of  Goldsmith  (1728-1774)  that  show  more 


302  Notes  and  Comment  [Pp.  167- 

of  the  influences  noted  in  our  general  introduction   to  the  New 
Ballads? 

BETH  GJ&LERT 

Spencer  (i  769-1834)  was,  like  Campbell,  a  poet  who  could  not 
wholly  free  himself  from  the  traditions  of  the  Augustan  age  even 
when  he  was  touched  by  the  romantic  spirit.  Much  of  the  present 
ballad  is  mere  rhetoric,  and  eight  stanzas  have  for  that  reason  been 
omitted,  including  six  at  the  end,  which  describe  Llewelyn's  remorse 
and  the  tomb  he  reared  for  Gelert. 

The  story  of  the  poem  is  current  throughout  Europe  and  found 
in  Persia,  India,  and  China.  The  Welsh  version  localizes  it  near 
Beddgelert,  a  village  at  the  foot  of  Snowdon,  northern  Wales.  Bedd- 
gelert  (pronounce  dd  as  th  in  then)  means  "Gelert's  grave."  Llew- 
elyn was  one  of  the  last  native  princes  of  Wales.  He  espoused  Joan, 
natural  daughter  of  King  John  Lackland  (reference  in  stanza  4). 

What  part  have  animals  played  in  ballads  you  have  previously 
studied?    Has  a  beast  been  the  hero  of  any  of  them? 

THE  DREAM  OF  EUGENE  ARAM 

Eugene  Aram  was  executed  in  1759  for  a  murder  that  had  then 
recently  come  to  light,  when,  after  a  lapse  of  fourteen  years,  the  bones 
of  the  murdered  man  were  found  in  a  cave.  The  motive  of  the  crime 
appears  to  have  been  jealousy.  Eugene  Aram  was  a  scholar  of  some 
distinction  and  one  of  the  founders  of  the  scientific  study  of  the  Celtic 
languages.  His  story  is  the  subject  of  a  novel  by  Bulwer-Lytton  as 
well  as  of  this  ballad  by  Hood  (1799-1845). 

What  is  the  theme  of  Hood's  poem?  To  whom  is  the  story  told? 
What  occasioned  the  telling?  Why  does  Hood  make  Aram  tell  his 
story  to  a  school-boy?  How  does  the  last  stanza  prove  this?  If  you 
have  read  Coleridge's  The  Rime  of  the  A  ncient  Mariner,  compare  the 
method  of  the  two  poems  (contrast,  psychological  analysis,  confes- 
sion, description).  Is  description  ever  employed  in  the  genuine 
popular  ballad?  psychological  analysis?  What  suggestions  of  the  old 
ballads  in  stanza  i,  stanzas  15-16?  What  is  the  effect  of  the  last  two 
lines  of  each  stanza? 

Explain:  usher,  sprite,  chamberlain. 

2,  6.  Lynn  is  in  Norfolk.  Aram  was  a  teacher  in  a  boys'  school 
there. 


-179]  Notes  and  Comment  303 

34,  6.  Craiimer's.  Archbishop  Cranmer  was  burned  at  the  stake 
in  1556  by  bloody  Queen  Mary.  He  had  made  six  several  recanta- 
tions, all  of  which  he  finally  disavowed;  and  he  said  his  hand  should 
burn  first  because  it  had  signed  the  recantations.  True  to  his  word, 
he  steadfastly  exposed  his  right  hand  to  the  flames,  "and  several 
times  during  the  burning  was  heard  to  exclaim  with  a  loud  voice, 
'This  hand  hath  offended — this  unworthy  hand!'" 


THE  NECKAN 

The  neckan  (Swedish  nekken,  hence  in  this  poem  localized  "by  the 
Baltic")  is  a  nix  or  water-sprite.  Compare  the  story  of  Flind  Etin, 
The  Great  Silkie  of  Side  Skerry,  and  St.  Stephen  and  Herod.  Are  the 
neckan  and  his  bride  reunited?  What  was  the  popular  belief  about 
such  a  union  (compare  Hind  Etin  and  The  Great  Silkie)?  What  criti- 
cism in  Arnold's  poem  is  based  upon  this  belief?  If  possible  read  also 
JMatthew  Arnold's  The  Forsaken  Merman,  a  finer  poem,  but  not  in 
ballad  form.    Matthew  Arnold  was  born  1822,  died  1S88. 

Study  the  use  of  adjectives  in  this  poem.  What  is  the  author's 
attitude  toward  his  story?  Does  he  draw  a  moral?  Does  he  criticize 
mortals  or  Christians  or  both?  Compare  the  "moral  meaning"  of 
Coleridge's  Ancient  Mariner: 

He  prayeth  well,  who  loveth  well 
Both  man  and  bird  and  beast. 

He  prayeth  best,  who  loveth  best 
All  things  both  great  and  small; 
For  the  dear  God  who  loveth  us. 
He  made  and  loveth  all. 

The  miracle  in  this  story  is  the  same  as  the  miracle  in  the  story  of 
Tannhauser. 

THE  BALLAD  OF  FATHER  GILLIGAN 

Yeats  was  born  in  the  same  year  as  Kipling,  1865,  and  like  him 
was  the  son  of  an  artist.  John  Butler  Yeats,  the  father,  was  for 
some  years  a  resident  of  New  York  City.  William  Butler  Yeats,  like 
Noyes  and  Masefield,  has  visited  the  United  States  and  given  read- 
ings from  his  works.    His  first  volume  of  poetry,  The  Wanderings  oj 


304  Notes  and  Comment  [Pp.  179- 

Olsin  {Usheen),  was  incorporated  in  his  collected  Poems  (1895),  and 
he  has  since  published  a  volume  of  lyrics,  The  Wind  among  the  Reeds. 
He  has  identified  himself  closely  with  the  Celtic  Revival  and  the 
Irish  Literary  Theater.  He  has  published,  besides  poems,  Irish  folk 
stories,  criticism  {The  Celtic  Twilight,  etc.),  an  Irish  literary  review, 
and  several  dramas  for  the  Irish  Theater  {The  Land  of  Heart's  Desire, 
The  Hour  Glass,  etc.). 

Compare  the  miracles  treated  in  the  ballads  you  have  read. 
Wliich  is  most  spectacular?  Which  is  most  subtle?  Which  has  a 
deeper  meaning?     For  which  have  you  yourself  the  most  feeling? 

Yeats  draws  his  inspiration  in  part  from  the  simple  faith  of  the 
Irish  peasantry,  in  part  from  Pre-Raphaelitism  (observation  and 
depicting  of  delicate  detail).  Illustrate.  What  phrases  and  fancies 
of  his  own  has  he  woven  into  this  poem?  How  do  they  suit  the 
subject? 

One  of  Arnold's  definitions  of  poetry  is:  "A  criticism  of  life." 
Test  The  Neckan  and  Father  Gilligan  by  this  definition.  Show  that 
each  poem  is  characteristic  of  its  author.  Show  the  absence  of  any 
such  personal  note  in  St.  Stephen  and  Herod. 


LITTLE  MOCCASINS  AND  OLIVER  WEST 

Two  Canadian  poets  have  caught  in  virile  and  racy  verse  the  lure 
and  fascination  of  life  in  the  open. 

Saddle  and  rifle,  spur  and  rope,  and  the  smell  of  sage  in  the  rain, 

As  down  the  canon  the  pintos  lope  and  spread  to  the  shadowed  plain.  .  •  . 

Up  on  the  ledge  where  the  burro  creeps,  patient  and  sure  and  slow. 
Above  a  valley-floor  that  sleeps  ten  thousand  feet  below.  .  .  . 

Out  where  the  tumbling  schooner  fights  in  the  spume  of  the  typhoon's  hate; 
Up  where  the  huskie  bays  the  lights  of  the  Northland's  frozen  gate.  .  .  . 

Sun  and  wind  and  the  sound  of  rain!    Hunger  and  thirst  and  strife! 
God!    To  be  out  on  the  trails  again  with  a  grip  on  the  mane  of  life.  .  .  . 

Knibbs:  The  Outland  Trails. 

Robert  W.  Service,  the  "Canadian  Kipling,"  is  the  author  of 
Songs  of  a  Sour  Dotigh  {The  .Spell  of  the  Yukon),  Ballads  of  a  Cheechako, 
and  Rhymes  of  a  Rolling  Stone.    Little  Moccasins  is  from  the  Rolling 


-iSsl  Notes  and  Comment  305 

Stone  volume.  He  was  bom  in  England  in  1876,  but  has  been  long 
a  resident  of  Canada. 

Henty  Herbert  Knibbs  (born  1874),  now  a  resident  of  California, 
has  published  both  verse  and  fiction.  Our  selection  is  taken  from 
Songs  of  the  Oullaiids:  Ballads  of  Hoboes  and  Other  Verse. 

As  with  the  cowboy  singers,  Service  and  Knibbs  tend  to  self- 
dramatization  and  lyric  utterance.  The  two  ballads  we  give  hint 
but  obliquely  at  all  this.  However,  each  leads  us  straight  to  a  salt 
lick  of  American  romance:  contact  with  the  Indian  in  the  northern 
woods,  contact  with  the  Spaniard  in  the  great  Southwest.  They 
should  be  read  in  connection  with  the  cowboy  ballads. 

Little  Moccasins 

What  is  the  situation?  What  is  the  story  that  led  up  to  the  situa- 
tion?   Who  is  the  speaker?    What  kind  of  life  is  he  used  to? 

Supposed  Varro  loved  Utah  Carroll.  Let  her  tell  the  story,  by  in- 
direction, as  the  story  of  Little  Moccasins  is  told.  Is  it  as  easy  to  tell 
the  story  one  way  as  another?  Does  this  suggest  to  you  wherein 
Little  Moccasins  is  artistic? 

Oliver  West 

This  is  more  clearly  a  ballad.  It  reverts  in  fact  to  the  old  split 
situation,  as  in  The  Tiva  Sisters  and  The  Cruel  Brother.  But  the 
situation  is  in  the  hero's  breast,  and  is  developed  by  the  poet's  careful 
selection  of  details.  Test  this  statement.  Compare  with  the  two  old 
ballads  named  and  with  the  cowboy  ballads.  How  would  the  author 
of  Utah  Carroll  have  treated  stanza  8? 

Study  the  stanza  form,  especially  the  effect  of  the  last  line.  Note 
the  internal  rime  in  stanza  i,  hne  2,  and  stanza  6,  line  3.  May  there 
be  design  in  its  use  in  just  these  two  places  and  nowhere  else?  How 
is  repetition  used  and  to  what  end? 

2,  2.  Cayuse:  Indian  pony. 

5,  2.  'Dobe:  a  house  or  hut  built  of  adobe  or  sun-dried  brick. 

6,  4.  Gringo:  a  depreciatory  name  given  to  English  speaking  per- 
sons by  the  Mexicans. 

THE  WAR-SONG  OF  DINAS  VAWR 

Peacock  (i 785-1866)  was  a  satirical  novelist  and  poet,  and  a  friend 
of  the  poet  Shelley.    "In  1819  he  was  appointed  assistant  examiner 


3o6 


Notes  and  Comment  IPp.  183- 


at  the  India  House.  The  papers  he  prepared  as  tests  of  his  ability- 
were  returned  with  the  comment,  'Nothing  superfluous  and  nothing 
wanting.'  .  .  .  What  Shelley  justly  termed  'the  lightness,  strength 
and  chastity'  of  his  diction  secures  him  an  honorable  rank  among 
those  English  writers  whose  claims  to  remembrance  depend  not  only 
upon  matter  but  upon  style." — Garnett.  Another  critic  speaks  of 
his  "steely  wit."  Of  the  present  poem  Saintsbury  says:  "Nothing 
approaches  the  'Dinas  Vawr'  song,  which  has  a  diabolical  lightness 
and  swing  about  it  quite  unlike  anything  that  is  to  be  found  else- 
where. It  is  probably  the  succinctest  piece  of  humorous  modern 
poetry  in  the  world:  there  is  not  a  line,  not  a  word  to  spare." 

The  war-song  is  introduced  into  Peacock's  satirical  Arthurian  ro- 
mance The  Misfortunes  of  Elphin.  Dinas  Vawr  is  the  castle  of  King 
Ednyfed  of  Dyfed  (pronounce  duv-ed)  in  southwest  Wales.  It  has 
been  taken  by  storm  by  King  Melvas.  "The  hall  of  Melvas  was  full 
of  magnanimous  heroes,  who  were  celebrating  their  exploits  in  sundry 
choruses,  especially  in  that  which  follows,  which  is  here  put  upon 
record  as  being  the  quintessence  of  all  the  war-songs  that  ever  were 
written,  and  the  sum  and  substance  of  all  the  appetencies,  tendencies, 
and  consequences  of  military  glory."    Then  follows  our  ballad. 

In  what  sense  is  this  a  humorous  poem?  How  did  Peacock  intend 
his  introduction  to  be  taken?  Note  the  effect  of  the  rimes  and  of 
the  change  in  riming  in  the  last  four  lines.  What  character  is  lent 
the  poem  by  the  final  line  of  each  stanza?  Which  stanza  is  an  ex- 
ception? 

HOME  THEY  BROUGHT  HER  WARRIOR  DEAD 

This  is  one  of  the  several  exquisitely  wrought  lyrics  that  ser\'e  as 
interludes  in  Tennyson's  Princess.  The  artistic  perfection  of  the 
present  cameo  ballad  is  attained  by  the  selection  and  arrangement 
(parallelism  and  antithesis)  of  detail,  and  the  tenseness  of  its  restraint. 
Every  phrase  is  moulded  and  shaded  with  minutest  care.  There  is 
nowhere  a  word  too  much  or  a  word  out  of  place. 

What  is  the  situation?  What  harmony  and  what  contrast  of 
character?  Compare  stanzas  2  and  3  with  two  incremental  stanzas 
of  an  earlier  ballad.  In  which  is  the  climax  more  effective?  Why? 
With  the  climax  in  stanzas  2  and  3  compare  the  use  of  contrast 
(?also  climax)  in  stanzas  3  and  4.  Note  the  effect  of  inversion  in 
stanza  i,  line  i,  and  stanza  4,  line  i;  in  stanza  3,  line  i,  and  stanza  4, 


-187]  Notes  and  Comment  307 

line  i;  in  the  last  line.    Why  is  stanza  i,  line  3,  unlike  a  verse  of  a 
popular  ballad?     Can  you  make  a  similar  statement  for  stanza  2, 
line  I  ?  for  the  inversions?    Note  the  effect  of  the  extra  syllable  at  the 
beginning  of  the  last  line  but  one. 
Compare  the  earlier  version: 

Home  they  brought  him  slain  with  spears. 

They  brought  him  home  at  even-faU; 
All  alone  she  sits  and  hears 

Echoes  in  his  empty  hall, 

Sounding  on  the  morrow. 

The  sun  peeped  in  from  open  field, 

The  boy  began  to  leap  and  prance, 

Rode  upon  his  father's  lance, 
Beat  upon  his  father's  shield, 

.     "Oh  hush,  my  joy,  my  sorrow!" 

HOW  THEY  BROUGHT  THE  GOOD  NEWS  FROM  GHENT 
TO  AIX 

An  imaginary  incident.  What  is  the  distance  from  Ghent  to  Aix? 
The  poet  doesn't  tell  us  what  the  "good  news"  is:  does  it  make  any 
difference?  Browning's  poem  may  be  compared  with  Thomas  Bu- 
chanan Read's  Sheridan's  Ride  for  the  handling  of  incident,  climax, 
dramatic  effect,  and  character.  Compare  also  the  account  of  a  ride 
in  the  last  canto  of  Scott's  The  Lady  of  the  Lake. 

Explain:  gate-bolts,  postern,  pique,  (?)  half-chime,  askance,  spume- 
flakes,  croup,  buff-coat,  holster,  jack-boots,  burgesses. 

How  does  the  story  gain  by  having  three  riders  set  out  instead  of 
one?  Would  the  story  be  as  exciting  if  Roos  collapsed  after  the  roan 
fell  dead?  Why  is  the  former  incident  told  with  more  detail?  How 
does  Browning  make  us  feel  the  fitness  of  Roland?  How  is  the  idea  of 
Roland's  endurance  borne  in  on  us?  How  much  of  Roland's  heroism 
is  a  reflection  of  his  master's? 

How  are  the  riders  introduced  to  us?  Why  wasn't  this  done  more 
simply  and  clearly?  How  does  stanza  2  prepare  us  for  the  outcome 
of  the  story?  Can  you  explain  why  the  detail  in  stanza  4,  line  2,  should 
have  been  noted  by  the  rider?  Are  the  details  of  stanza  3,  line  3,  and 
stanza  7,  line  4,  similar?  How  about  the  other  details — those  of 
stanza  5,  e.  g.?  Explain  the  actions  of  the  rider  in  stanza  9.  What  do 
the  homely  touches  in  the  last  line  add? 


3o8 


Notes  and  Comment  [Pp.  187- 


TIIE  HIGHWAYMAN 


Alfred  Noyes  (born  1880)  is  a  versatile  young  English  poet,  frank, 
engaging,  buoyant,  happy.  His  readings  from  his  own  works  won 
him  many  friends  in  this  country  and  an  appointment  to  a  professor- 
ship of  poetry  in  Princeton  University.  Moreover,  these  readings, 
like  those  of  James  Whitcomb  Riley,  Seumas  MacManus,  and  John 
Masefield,  got  people  once  more  to  hear  poetry  and  taught  them 
anew  the  power  and  charm  of  the  spoken  word.  Noyes's  Collected 
Poems  (1913),  in  two  volumes,  include  the  following  works  previously 
published :  The  Flower  of  Old  Japan,  The  Forest  of  Wild  Thyme,  Drake, 
The  Enchanted  Island,  Sherwood,  Tales  of  the  Mermaid  Inn,  and  others. 

Very  instructive  is  the  refrain  of  this  ballad.  As  singing  becomes 
"saying"  (i.  e.  recitation)  the  refrain  is  lost  or  absorbed  into  the 
stanza  (Introduction,  page  xiii).  Here  it  is  neither  lost  nor  absorbed, 
but  made  an  organic  part  of  the  stanza.  With  all  the  old  trick  of 
repetition  it  is  not  sing-song,  not  thrumming,  but  a  means — and  a 
most  effective  one — of  driving  home  the  meaning.  It  is  perhaps  the 
most  haunting  spoken  refrain  since  Poe's  Raven.  How  does  it  differ 
from  this?  How  does  this  difference  make  for  dramatic  life?  Which 
is  the  more  musical?  Compare  also  for  spoken  refrain  the  next  two 
poems. 

AN  OLD  SONG  RE-SUNG 

A  sailor  and  a  rover,  Masefield  is  at  his  happiest  in  his  poetry  of  the 
sea.  In  this  respect  and  in  some  others  the  little  song  we  print  here 
is  characteristic  enough.  But  there  are  reaches  of  Masefield's  soul 
and  art  not  so  much  as  hinted  at  here.  His  "strangely  imaginative 
yet  realistic  poems  have  renewed  the  faith  of  the  most  sceptical  in 
the  compelling  power  of  poetry."  (Thomas  Seccombe.) 
.  How  did  the  poem  impress  you  most:  by  the  pictures  it  called  up, 
by  its  appeal  to  your  imagination,  or  by  the  thoughts  it  made  you 
think?  Study  the  refrain  (see  preceding  note),  meter,  rhythm,  and 
rime,  and  show  how  each  of  these  sensuous  (musical)  elements  is  made 
to  express  part  of  the  meaning. 

What  is  the  story  or  situation?  Compare  with  the  Dogie  song  and 
The  Old  Chisholm  Trail.  Compare  with  Liltle  Moccasins.  It  may 
also  be  compared  with  The  Landing  of  the  Pilgrim  Fathers  and  the 
Song  of  the  Cornish  Men  ("group  as  hero"),  and  with  Home  they 


-194]  Notes  and  Comment  3^9 

Brought  her  Warrior  Dead  and  After  Aughrim  (selection  and  grouping 
of  details,  parallelism,  story  told  in  a  series  of  pictures,  dramatic 
irony) . 

DRAKE'S  DRUM 

Henry  John  Newbolt  (born  1862)  is  the  self-devoted  laureate  of 
British  naval  achievement.  Admirals  All  (1897),  which  established 
his  literary  reputation,  has  been  followed  by  The  Island  Race,  The 
Sailing  of  the  Long-ships,  Songs  of  the  Sea,  and  Tlie  Year  of  Trafalgar. 
His  sea  echoes  remind  us  of  Masefield  and  his  patriotic  vein  of  both 
Masefield  and  Noyes. 

Review  the  questions  and  comments  on  The  Highwayman  and 
An  Old  Song  Re-sung  and  apply  them  point  for  point  to  Drake'' s  Drum. 
Compare  the  three  poems  with  regard  to :  energy,  dramatic  force,  re- 
finement, appeal,  graphicalness.  Compare  with  Little  Moccasins  as 
a  dramatic  monologue.  A  recent  reviewer  speaks  of  Noyes  and 
Newbolt  sustaining  "their  positions  as  foremost  among  the  writers 
of  ballads  and  of  patriotic,  heroic,  occasional  and  rhetorical  verse." 
Which  of  these  adjectives  can  you  justify  with  regard  to  The  High- 
wayman? with  regard  to  Drake's  Drum? 


IVRY 

Henry  of  Navarre,  as  king  of  France  Henry  IV,  was  one  of  the  most 
popular  heroes  of  France.  His  claim  to  the  crown  of  France  upon  the 
death  of  Henry  III,  the  last  of  the  Valois,  in  1589,  was  supported  by 
the  Huguenots,  but  strongly  opposed  by  the  League.  In  1590  he 
won  a  decisive  victory  over  the  League  at  Ivry,  a  village  41  miles 
west  of  Paris. 

The  Huguenots  were  Protestants.  They  had  been  fighting  for  re- 
ligious tolerance  (stanza  6,  line  3)  and  freedom  of  worship.  Rochelle 
(stanza  i,  line  5),  a  city  on  the  western  coast  of  France,  was  their 
stronghold.  Coligni  (stanza  2,  line  8),  one  of  their  chief  men,  had  been 
murdered,  with  other  Huguenot  leaders,  in  the  massacre  of  St. 
Bartholomew  (August  24,  1572;  stanza  s,  line  6;  stanza  2,  line  7), 
which  was  instigated  by  Catharine  de'  Medici,  the  wicked  mother  of 
Henry  III.  MaximiHan  de  Bethune,  Baron  of  Rosny  and  later  Duke 
of  Sully  (stanza  6,  lines  4-5),  a  Huguenot,  became  one  of  the  ablest 
statesmen  France  ever  had. 


3  lo  Notes  and  Comment  [Pp.  194- 

The  League  was  the  strict  Catholic  party,  organized  and  dominated 
by  the  powerful  family  of  Guise  of  Lorraine  (stanza  2,  line  5;  stanza  6, 
line  6)  and  actively  supported  by  Philip  II  of  Spain  (stanza  7,  line  3). 
Philip  ruled  also  over  the  Lowlands  (Flanders,  stanza  2,  line  4; 
Guelders,  stanza  4,  line  4;  Antwerp,  stanza  7,  line  4)  and  held  Mexico 
(stanza  7,  line  3).  The  Duke  of  Mayenne  (stanza  2,  line  6;  stanza  4, 
line  3;  etc.)  was  Charles  of  Lorraine,  head  of  the  house  of  Guise  and 
commander-in-chief  of  the  Leaguers.  The  Duke  of  Aumale  (stanza  5, 
line  2)  was  his  cousin.  Mayenne  was  supported  by  Flemish  troops 
under  Philip,  Count  of  Egmont  (stanza  2,  line  4;  stanza  5,  line  2; 
stanza  4,  line  4;  stanza  7,  line  4),  Swiss  mercenaries  under  Appenzell 
(stanza  2,  line  4;  Almayne,  another  name  for  Switzerland,  stanza  4, 
Une  4;  Lucerne,  stanza  7,  line  i),  and  Austrian  troops  (Vienna, 
stanza  7,  line  i);  the  Austrian  contingent,  like  the  Flemish,  was 
furnished  by  Philip  II. 

Although  the  victory  at  Ivry  was  decisive,  Henry  was  not  fully 
acknowledged  as  ruler  of  France  until  he  embraced  the  Catholic 
faith  three  years  later.  The  political  wisdom  of  this  step,  which 
Sully  had  been  urging,  was  evident  in  the  peace  it  brought  to  France 
after  twenty  years  of  civil  war.  In  1598  Henry  issued  the  Edict  of 
Nantes,  which  secured  to  the  Huguenots  freedom  of  worship  and 
poHtical  rights. 

I,  I.  The  biblical  reference  is  characteristic  of  the  Huguenot 
speaker.    Other  examples? 

1,  2.  Liege:  lord. 

2,  3.  Expressions  suitable  to  the  Huguenot  partisan. 

2,  6.  Truncheon :  baton  or  staff  of  authority. 

3,  10.  Orifianime:  ancient  royal  banner  of  France,  rays  of  gold  on 
a  royal  purple  background. 

4,  2.  Culverin:  cannon. 
4,  3.  Pricking:  spurring. 

4,  6.  Golden  lilies:  fleurs-de-lys  in  the  royal  arms  of  France. 

6,  4.  Comet:  white  flag  borne  at  the  head  of  the  army  of  the  king 
of  France;  Mayenne  regarded  Henry  as  a  usurper  and  his  own  army 
as  the  royal  army  of  France. 

7,  3.  Pistoles.  The  pistole  was  a  gold  coin  worth  about  four 
dollars. 

7,6.  St.  Genevieve:  the  patron  saint  of  Paris;  here  the  name 
stands  for  Paris  itself. 

Ivry  is  a  pean  or  hymn  of  praise  rather  than  a  ballad.    It  voices 


-198]  Notes  and  Comment  311 

the  strong  exultation  of  one  of  Henry's  Huguenot  partisans.  The 
declamatory  tone  is  characteristic  of  Macaulay's  ballads,  which 
include  the  Lays  of  Ancient  Rome.  Show  that  the  stanza  here  is 
really  composed  of  ballad  stanzas.  What  is  gained  by  the  arrange- 
ment adopted?  Note  the  refrain-like  endings  of  the  stanzas.  What 
is  the  purpose  of  this  refrain? 

THE  LANDING  OF  THE  PILGRIM  FATHERS 

Mrs.  Hemans  (i  793-1835)  was  born  in  Liverpool  of  Irish  and 
Austrian  parents.  She  wrote  lyrics  of  genuine  feeling  and  pure  and 
high  sentiment  on  themes  drawn  from  many  countries.  Her  popu- 
larity has  waned  greatly  since  her  death. 

Compare  the  present  poem  with  Ivry  as  regards  group  heroism, 
hymnlike  nature,  sentiment,  dramatic  presentation,  subordination  of 
narrative,  lyrical  quahty. 

SONG  OF  THE  CORNISH  MEN 

In  1688  James  II  issued  a  Declaration  of  Indulgence  to  Catholics 
and  Dissenters  and  ordered  the  clergy  to  read  it  on  two  successive 
Sundays.  The  Declaration  was  without  parliamentary  sanction.  It 
was  a  move  in  James's  two-fold  plan  of  establishing  Catholicism  as 
the  state  religion  and  of  making  himself  absolute  monarch.  The 
clergy  refused  to  do  the  king's  bidding.  Seven  bishops  made  repre- 
sentations to  the  king  that  the  Declaration  was  illegal.  They  were 
cast  into  the  Tower  and  brought  to  trial,  but  acquitted  imder  ac- 
clamations of  the  multitude.  The  incident  hastened  the  downfall  of 
James  and  the  accession  of  William  and  Mary. 

One  of  the  seven  prelates  was  Sir  Jonathan  Trelawney,  Bishop  of 
Bristol,  a  member  of  a  well-known  Cornish  family.  Cornish  men  not 
only  shared  the  widespread  distrust  of  the  king,  but  were  fired  by 
local  patriotism. 

And  shall  Trelawney  die,  and  shall  Trelawney  die? 

Then  thirty  thousand  Cornish  men  will  know  the  reason  why. 

was  sung  throughout  Cornwall.  The  "Cornish  mines  roared"  with 
the  variant: 

And  shall  Trelawney  die,  and  shall  Trelawney  die? 

Then  twenty  thousand  under  ground  will  know  the  reason  why. 


312  Notes  and  Comment  [Pp.  198- 

The  incident  has  long  since  passed  out  of  the  popular  mind,  but  these 
two  Hnes  have  remained  alive  as  a  ready  expression  of  vigorous,  con- 
certed protest.  A  similar  popularity  seems  in  store  for  Lord  Ran- 
dolph Churchill's  utterance  on  Home  Rule  in  18S6:  "  Ulster  will  fight 
and  Ulster  will  be  right." 

Hawker  (1803-1875)  was  born  in  Devon  and  has  written  a  number 
of  poems  on  Cornish  subjects. 

Michael's  hold  (stanza  3)  is  apparently  St.  Michael's  mount,  a 
rock  off  the  south  coast  of  Cornwall.  The  Tamar  separates  Cornwall 
from  Devonshire;  Severn  must  be  a  mistake — why? 

How  does  this  poem  suggest  the  two  preceding  ones? 


THE  BATTLE  OF  THE  BOYNE 

James  II  hoped  to  regain  his  throne  with  the  help  of  the  Catholics 
of  Ireland  and  of  French  troops  sent  to  his  aid  in  Ireland  by  Louis 
XIV.  He  suffered  a  decisive  defeat  as  recounted,  date  and  all, 
in  the  ballad. — Schomberg  (stanza  4),  grandee  of  Spain,  marshal  of 
France,  commander-in-chief  of  the  Brandenburg  army  prior  to  joining 
William  of  Orange,  and  possessor  of  both  the  French  and  the  EngHsh 
ducal  title,  was  in  his  day  accounted  "the  greatest  living  master  of 
the  art  of  war." 

Ballads  were  made  about  the  Battle  of  the  Boyne  as  about  the 
Trelawney  incident.  It  was  an  age  of  partisan  songs,  and  we  have 
seen  how  they  had  a  far  though  fine  echo  in  some  of  the  best  songs 
of  Lady  Nairne.  Perhaps  the  most  famous  of  political  songs  in  this 
or  any  period  is  LiUibullero  (or  Lilliburlero),  the  author  of  which 
asserted  that  he  had  "sung  James  out  of  England."  The  nursery 
rhyme  of  Hiimpty  Dumply  is  supposed  to  refer  to  James's  fall. 

All  these  songs  and  ballads.  Jacobin  and  Anti- Jacobin,  have  a 
popular  tone.  The  present  ballad  is  like  one  of  the  older  chronicle 
ballads  (see  notes  on  Chevy  Chase),  though  evidently  dressed  up  for 
print.  Distinguish  the  popular  and  the  literary  touches.  Show  that 
The  Battle  of  the  Boyne  is  more  popular  than  Ivry.  Is  it  also  more 
popular  than  Hawker's  Trelawney  ballad?  Show  that  it  is  more 
strictly  a  ballad  than  these.  Graves,  more  than  Hawker,  has  worked 
over  old  material. 

Graves  (born  1846)  has  had  an  active  [)art  in  the  Irish  Hterary 
revival.    He  has  edited  and  published  Songs  of  Old  Ireland  (1S83), 


-zoo]  Notes  and  Comment  313 

Irish  Songs  and  Ballads  (1893),  Irish  Folk-Songs  (1897),  Songs  oj 
Erin  (1901),  etc. 

What  may  be  railed  the  official  Boyne  ballad  of  the  Orangemen 
has  a  more  decided  Irish  flavor.  We  quote  stanzas  4-6.  The  rime 
after:water  closes  five  of  the  ten  stanzas. 

When  we  the  Boyne  began  to  cross,  the  enemy  they  descended; 
But  few  of  our  brave  men  were  lost,  so  stoutly  we  defended; 
The  horse  was  the  first  that  marched  o'er,  the  foot  soon  followed  after; 
But  brave  duke  Schomberg  was  no  more  by  venturing  over  the  water. 

When  vaUant  Schomberg  he  was  slain,  King  William  did  accost 

His  warlike  men  for  to  march  on  and  he  would  be  foremost; 

"Brave  boys,"  he  said,  "be  not  dismayed  for  the  loss  of  one  commander, 

For  God  will  be  our  king  this  day,  and  I'll  be  general  under." 

Then  stoutly  we  the  Boyne  did  cross,  to  give  the  enemies  battle; 

Our  cannon,  to  our  foe's  great  cost,  Uke  thundering  claps  did  rattle. 

In  majestic  mien  our  Prince  rode  o'er,  his  men  soon  followed  after, 

With  blow  and  shout  put  our  foes  to  the  rout  the  day  we  crossed  the  water. 

This  version  is  attributed  to  Captain  Blacker,  but  has  a  popular 
basis.  The  feminine  rimes  e.  g.  are  popular  while  those  of  Campbell 
and  Peacock  are  literary.    How  should  you  express  this  difference? 


AFTER  AUGHRIM 

James  fled  before  the  Battle  at  the  Boyne  river  was  over.  Wil- 
liam's victory  was  decisive.  But  the  Stuart  cause  was  not  dead  and 
the  war  continued  more  than  fifteen  months  longer.  July  12,  1691, 
the  Irish  forces  under  the  French  general  St.  Ruth  were  defeated  at 
Aughrim.  It  is  the  anniversary  of  this  battle  even  more  than  of 
Boyne  that  is  celebrated  by  the  Orangemen,  as  the  Irish  Protestants 
are  called  from  King  William's  prior  title  of  Prince  of  Orange. 

Afler  Aughrim,  though  a  modern  composition  (Geoghegan  was 
bom  1809,  died  1889),  may  represent  for  us  the  sentiment  of  loyalty 
to  the  Stuart  cause.  It  is  a  touching  and  graceful  poem.  It  contrasts 
two  situations,  two  expressions  of  woman's  heroism,  and  is  only  the 
more  effective  because  it  leaves  the  imagination  to  fill  in  details. 
Compare  the  method  with  that  of  Tennyson  in  his  two  versions  of 
Home  They  Brought  Her  Hero  Dead, 


314  Notes  and  Comment  [Pp.  201- 

Patrick  Sarsfield  was  a  gallant  Irish  general.  He  later  entered 
the  French  service  and  lost  his  life  in  the  Battle  of  Neerwinden 
(1693),  in  which  a  "hunchbacked  dwarf"  (Luxembourg)  won  a  vic- 
tory over  an  "asthmatic  skeleton"  (William  of  Orange). — Green  is, 
of  course,  the  Irish  color. 

THE  BATTLE  OF  THE  BALTIC 

England's  "enforcement  of  the  right  of  search  to  enable  her  ships 
to  take  enemies'  goods  out  of  neutral  vessels  exasperated  even 
friendly  powers,  and  Russia  was  joined  by  Sweden  and  Denmark  to 
enforce  resistance  to  the  claim." — Britannica.  A  great  naval  battle 
ensued  off  Copenhagen  April  2,  1801.  The  Enghsh  fleet  was  under 
Sir  Hyde  Parker,  with  Nelson,  the  hero  of  the  Nile,  second  in  com- 
mand. In  the  midst  of  the  battle  news  came  that  the  czar  had  been 
murdered,  hostilities  ceased,  and  a  compromise  was  made  relieving 
Great  Britain  of  the  dread  of  isolation  and  starvation. 

Explain:  leviathans,  adamantine.  Elsinore  (Danish  Helsingor)  is 
a  town  on  the  Sound,  north  of  Copenhagen.  Riou  was  an  English 
naval  captain  who  lost  his  life  in  the  battle. 

Study  the  meter  of  the  poem.  The  effects  combine  vigor  and  grace. 
The  ductile  "irregular  ode"  stanza  is  made  regular  by  repetition. 
Note  also  the  dashes  and  other  appeals  to  the  eye. 

AN  INCIDENT  OF  THE  FRENCH  CAMP 

Ratisbon  (German  Regensburg)  guards  the  west  approach  along 
the  Danube  to  Vienna  as  Belgrade  guards  the  east,  and  like  Belgrade 
has  suffered  siege  and  assault  times  innumerable.  The  incident  of 
the  poem  occurred  in  1809;  the  messenger,  however,  was  a  man,  not 
a  boy.  Montgomery  in  his  Heroic  Ballads  cites  from  Major-General 
Doubleday's  Chancellor sville  and  Gettysburg  the  following  similar  in- 
cident of  the  Battle  of  Gettysburg. 

"An  ofBcer  of  the  Sixth  Wisconsin  approached  Lieutenant-Colonel  Dawes, 
the  commander  of  the  regiment,  after  the  sharp  fight  in  the  railroad  cut. 
The  colonel  supposed,  from  the  firm  and  erect  attitude  of  the  man,  that 
he  came  to  report  for  orders  of  some  kind;  but  the  compressed  lips  told  a 
different  story.  With  a  great  effort  the  officer  said,  '  Tell  them  at  home  I  died 
like  a  man  and  a  soldier.'  He  threw  open  his  coat,  displayed  a  ghastly  wound, 
and  dropped  dead  at  the  colonel's  feet." 


-2o6]  Notes  and  Comment  315 

What  characteristics  of  Napoleon  appear  in  the  poem?  What 
characteristics  of  his  soldiers  are  exempHfied  by  the  young  hero? 
Which  of  these  characteristics  is  exempHfied  in  the  American  story 
cited  above?  Is  the  speech  in  stanza  4  too  long?  Note  that  some 
of  the  lines  are  broken  up  into  two,  three,  or  even  four  phrases.  Does 
this  make  the  ballad  less  singable?  more  dramatic?  Do  you  find  such 
lines  in  any  of  the  old  ballads?  Browning  groups  How  They  Brought 
the  Good  News  from  Ghent  to  Aix  with  his  "Dramatic  Lyrics,"  An 
Incident  of  the  French  Camp  with  his  "Dramatic  Romances."  Can 
you  explain  the  distinction? 

Note.  Romance  is  the  Spanish  word  for  ballad.  Hence  romanze  in 
German  and  romance  in  English  as  applied  to  a  ballad  in  which  narrative 
is  subordinate  to  sentiment,  especially  a  ballad  that  inspires  a  rather  vague 
sense  of  awe,  mystery,  or  wonder;  such  romances  often  have  a  marked  lyrical 
tone.  The  term  is  similarly  applied  to  certain  musical  pieces.  Quite  dif- 
ferent, though  obviously  related,  are  the  metrical  romance  of  the  13th  and 
14th  century,  described  in  the  notes  to  Hind  Horn  and  King  Estmere,  and 
the  romance  of  modern  prose  fiction.  Romance  and  ballad  differ  much  as, 
in  prose  fiction,  romance  and  novel.  Apply  the  definition  of  romance  to  the 
following  ballads  of  our  collection:  The  Douglas  Tragedy,  Proud  Lady  Mar- 
garet, Sweet  William's  Ghost,  The  Wife  of  Usher's  Well,  Sir  Patrick  Spens, 
The  Great  Silkie  of  Sule  Skerry,  The  Three  Ravens,  Bonny  Barbara  Allan, 
Bessy  Bell  and  Mary  Gray,  Young  Waters. 

THE  RELIEF  OF  LUCKNOW 

Robert  Traill  Spence  Lowell  (i8i6-i8gi)  was  a  brother  of  James 
Russell  Lowell  (1819-1891).  He  narrates  here  a  famous  incident 
in  the  rebellion  of  the  Sepoy,  or  native,  regiments  in  India  in  1857. 
The  siege  of  Lucknow  began  July  i.  Deliverance  came  finally  No- 
vember 14,  when  Sir  Colin  Campbell  arrived  at  the  head  of  five 
thousand  troops. 

I,  I.  Lucknow:  the  chief  city  of  the  province  of  Oudh  in  northern 
India. 

I,  3.  The  Sepoy  sappers  and  miners  were  bringing  their  trenches  and 
mines  nearer  and  nearer  to  the  beleaguered  city.  Compare  also 
stanza  15. 

9,  2.  Slogan:  war-cry  of  a  highland  clan,  here  that  of  the  Mc- 
Gregors. 

13,  3.  Reference  here  and  in  16,  2  to  well-known  Scotch  airs. 

14,  2.  Pipes:  bagpipes. 


3i6  Notes  and  Comment  [Pp.  207- 

19,  I.  Tartan:  plaid. 

Note  the  run-over  lines.  Did  you  note  any  in  the  old  ballads 
studied?  How  do  they  affect  the  singableness  of  the  poem?  Hovs? 
does  the  author  use  parallelism,  contrast,  and  climax?  Does  the 
author  bring  in  everyday  matters  as  Browning  does  in  the  Ghent  to 
Aix  poem? 

BARBARA  FRIETCHIE 

Whittier  (1807-189  2)  commemorates  an  incident  supposed  to  have 
occurred  during  the  Confederate  invasion  of  JMaryland  in  1862,  which 
was  repelled  by  McClellan's  victory  over  Lee  at  Sharpsburg  on  Antie- 
tam  creek.  The  incident  (whether  historical  or  not)  reminds  us  that 
war  may  have  its  amenities.  Both  sides  win  our  sympathy  and 
respect.  Such  a  theme  may  be  supposed  to  have  had  a  peculiar 
appeal  to  the  Quaker  poet.  "  In  American  balladry  he  was  pre- 
eminent; such  pieces  as  The  Swan  Song  of  Parson  Avery,  Marguerite, 
Barclay  of  Ury,  Skipper  Ireson's  Ride,  In  the  'Old  South',  hold  their 
place  in  literature."— Stedman. 

The  meter  is  the  two-line  stanza  of  the  oldest  ballads,  and  the 
frequent  omission  of  the  unaccented  syllable  at  the  beginning  of  the 
line  is  also  characteristic  of  popular  poetry.  But  if  this  were  a  popu- 
lar ballad,  with  what  stanza  (with  slight  verbal  changes)  would  it 
probably  begin  and  with  what  stanza  end?  There  would  probably 
be  no  such  stanzas  as  19  and  20 — why?  Point  out  also  certain  lines 
and  phrases  that  would  be  wanting.  Give  reasons.  Note  also  that 
the  stanzas  are  not  always  separate  and  distinct.  How  then  do  we 
see  Whittier's  hand  in  the  poem?  What  stanza  might  serve  as  a 
refrain?  Does  it  make  a  good  refrain?  Can  you  readily  conceive  of 
stanza  after  stanza  being  sung  with  this  refrain?  Should  you  perhaps 
say  that  the  poem  is  picturesque  rather  than  musical?  Do  you  know 
whether  Whittier  has  written  any  genuine  lyric  poetry — hymns,  e.  g.? 
Could  the  poem  as  it  stands  have  been  written  immediately  after  the 
event?    What  two  stanzas  show  this? 

O  CAPTAIN!  MY  CAPTAIN! 

In  its  tense  passion  of  loyalty,  its  vivid  allegory,  its  sounding  of 
the  high  dramatic  note  in  Lincoln's  death,  Walt  Whitman's  noble 
coronach  is  beyond  study.  Indirect  study  is  suggested  and  indeed 
urged:  Webster's  Reply  to  Hayne,  Lincoln's  Gettysburg  Address,  other 


-212]  Notes  and  Comment  317 

selections  from  a  good   source-book  of  American   history,  Lowell's 
Commemoration  Ode  and  his  essay  on  Democracy,  etc. 


BALLAD  OF  EAST  AND  WEST 

Kipling  is  the  poet  of  British  imperialism,  the  idea  that  Great 
Britain  should  lead  in  the  civilizing  of  the  inferior  races.  In  the 
present  ballad  he  emphasizes  both  the  difficulty  and  the  possibility 
of  Europe  and  the  Orient  understanding  each  other,  and  also  implies 
the  necessity  of  England's  trjdng  to  understand  the  inferior  races  if 
she  wishes  to  succeed  in  her  r61e  as  civilizing  agent.  "  Statesmen 
decreed  the  British  Empire.  But  Kipling  was  one  of  the  few  men 
who  breathed  into  it  the  breath  of  life." — New  York  Times. 

Kipling  was  born  in  India  in  1865,  the  son  of  Lockwood  Kipling, 
head  of  the  Lahore  School  of  Industrial  Art.  His  sudden  rise  to 
fame  when  scarcely  turned  twenty  was  even  more  phenomenal  than 
that  of  Byron.  For  several  years  during  the  go's  Kipling  lived  in  the 
United  States.  Here  he  married  the  sister  of  Wolcott  Balestier 
(1861-91),  with  whom  he  collaborated  on  a  novel  and  to  whom  he 
dedicated  his  Barrack  Room  Ballads.  Of  these  ballads  the  Brilannica 
says:  "These  vigorous  verses  in  soldier  slang,  when  published  in  a 
book  in  1892,  together  with  the  fine  ballad  of  East  and  West  and 
other  poems,  won  for  their  author  a  second  fame,  wider  than  he  had 
attained  as  a  story-teller."  The  volume  had  been  preceded  by 
Departmental  Ditties  and  was  followed  by  the  two  volumes  with  the 
imperialistic  titles.  The  Seven  Seas  and  The  Five  Nations.  His  mastery 
of  the  short-story  form  nowhere  shines  forth  more  splendidly  than 
in  his  books  for  children,  the  two  Jungle  Books  and  the  Just  So 
Stories. 

The  scene  is  on  the  Afghan  border  near  Peshawur  (line  78),  in  or 
near  Khyber  pass  (line  82).  British  conflicts  with  the  native  tribes  of 
these  mountains  have  been  frequent. 

Line  2.  Lifted:  stolen. 

5.  Guides:  mixed  Indian  and  British  troops  guarding  the  frontier, 

7.  Ressaldar:  title  of  native  captain  of  Indian  cavalry. 

8.  Track  of  the  morning  mist:  the  mist  lying  in  the  passes  (which 
here  extend  east  and  west)  and  lifting  as  the  sun  passes  westward. 

16.  Breech-bolt:  mechanism  for  thrusting  the  cartridge  into  the 
chamber  preparatory  to  firing. 
16.  Snick:  click. 


3i8  Notes  and  Comment  [Pp.  213-216 

42.  What  is  the  nature  of  the  jackal?    See  also  line  52. 

44.  Kite:  a  bird  of  the  hawk  kind. 

46.  Broken  meats:  left-overs. 

58.  Dam  of  lances:  mother  of  iron-nerved  fighters. 

80.  See  note  on  Bewick  and  Graham,  stanza  37,  line  2. 

82.  Wondrous  Names  of  God.  In  primitive  religions  and  also  in 
Mohammedanism  (of  which  Kamal  is  a  professor)  certain  names  of 
a  god  (or  of  God)  are  believed  to  be  more  efficacious  in  certain  prayers 
and  oaths.  Compare  Milton's  "Or  hear'st  thou  rather"  {Paradise 
Lost,  book  iii,  line  7). 

85.  Quarter-Guard:  a  small  guard  posted  before  each  battalion 
camp. 

Compare  the  meter  with  that  of  Ivry  and  the  ballad  stanza.  Com- 
pare the  lines  at  the  beginning  (and  at  the  end)  with  refrains  and 
ballad  stems  (see  notes  on  Guy  of  Gishurn).  Do  the  meter  and  this 
"ballad  stem"  lend  power  to  the  ballad?  Note  similarity  of  the 
theme  to  that  of  Barbara  Frietchie.  Why  does  this  poem  grip  us 
harder?  How  does  Kipling  give  us  a  sense  of  the  actuality  of  the 
story?  Edward  has  been  called  a  powerful  ballad:  Is  it  powerful  in 
the  same  sense  as  this?  Why  does  this  ballad  stir  our  blood  more 
than  Chevy  Chase? 


GLOSSARY 


ABBREVIATIONS 

adj.  adjective  Ppl-  participle 

adv.  adverb  prep.  preposition 

aux.  auxiliary  pres.  present 

comp.  comparative  pt.  past 

n.  noun  vb.  verb 
p.  plural 


GLOSSARY 


A',  all. 

Aboon,  abune,  above,  upon. 

Ae,  one,  an,  a;  only. 

Aff,  off. 

Aft,  aften,  oft,  often. 

Again,  against;  back,  in  reply. 

Ain,  own. 

Aince,  once. 

Alane,  alone. 

Alang,  along. 

Aid,  old. 

Amang,  among. 

An,  an',  and,  if. 

Ance,  once. 

And,  if;  and  .  .  .  but,  if  only. 

Ane,  one,  an,  a. 

Aneath,  beneath. 

Anither,  another. 

'As,  has. 

Aught,  owed. 

Aul',  auld,  old. 

Awa,  away. 

Ba',  hall. 

Bad,  bade. 

Bait,  feed. 

Baith,  both. 

Baken,  pt.  ppL,  baked. 

Bane,  bone. 

Bane,  death. 

Bar,  bore. 

Bat,  but. 

Be,  are. 

Bear,  bore. 


Bed-fit,  foot  of  a  bed. 

Been,  are. 

Beet,  vb.,  amend,  remedy. 

Beforn,  before. 

Behint,  behind. 

Beir,  vb.,  bear. 

Belive,  soon,  at  once. 

Ben,  into  the  parlor. 

Benbow,  bent  bow,  bow. 

Bent,  place  overgrown  with  bent- 
grass. 

Bestood,  (hard)  pressed. 

Bickered,  shot  off  and  on. 

Biek,  bask. 

Bigged,  built. 

Bigly,  suitable  for  habitation,  hand- 
some, fine. 

Billie,  billy,  comrade.   See  bully. 

Birk,  birch. 

Blan, 'ceased,  let  up. 

Blaw,  blow. 

Blude,  bluid,  blood;  blude-reid, 
bluid-red,  blood-red. 

Bluidy,  bloody. 

Bobbit,  curtsied. 

Boot,  advantage;  salvation. 

Bore,  (bored)  hole,  perforation. 

Bot,  but,  except. 

Boun,  adj.,  ready. 

Bonn,  vb.,  get  ready;  boun'd,  got 
ready.    See  busk. 

Bound,  boundary,  enclosure. 

Braid,  broad,  wide. 

Brand,  sword. 


Words  ending  in  is  or  ys  for  (e)s  (genitive  and  plural  of  nouns,  3d  person 
singular  of  verbs)  and  in  it,  yt,  id,  yd  for  (e)d  (preterit  and  past  participle) 
are  not  glossed. 

321 


322 


Glossary 


Brast,  pt.,  burst. 

Braw,  brave,  handsome,  fine,  splen- 
did. 

Breast-bane,  breast-bone. 

Bree,  brow. 

Bree,  broo,  broth. 

Breeden,  pres.  pi.,  breed. 

Brether,  brothers. 

Brither,  brother. 

Brond,  sword. 

Broo,  bree,  broth. 

Brook,  enjoy,  continue  to  enjoy, 
keep  (life). 

Bully,  comrade,  sworn-brother.  See 
billie. 

Bund,  pi.  ppL,  bound. 

Buntlin,  bunting,  yellow-hammer. 

Burn-brae,  brookside  meadow. 

Busk,  get  ready.    See  boun. 

But,  but  if,  unless. 

But  an',  but  and,  and  also. 

Byre,  cow-shed. 

Ca',  call. 
Cam,  came. 

Can,  aux.,  do,  did;  could,  did. 
Canna,  cannot. 

Carline,  carline  wife,  old  woman. 
Carp,  tell,  talk. 
Casten,  pt.  ppl.,  cast. 
Cauld,  cold. 
Channerin,  fretting. 
Christendame,  baptism. 
Christiantee,   Christiantie,    Chris- 
tendom. 
Chuse,  choose. 
Clay,  mold,  earth,  grave. 
Clerk,  scholar,  official. 
Close,  closs,  court,  courtyard. 
Comen,  pi.  ppl.,  come. 
Cop,  top  (of  head). 


Corbie,  raven,  crow. 

Coud,  couli;  coudna,  could  not. 

Counsel!,  counsel. 

Craw,  crow. 

Crew,  crowed. 

Croodlin,  cooing.      ^ 

Cule,  cool. 

Darena,  dare  not. 

Daw,  vb.,  dawn.     -^ 

Dead,  death. 

Dee,  die. 

Dee,  do. 

Dell,  devil. 

Deir,  dear. 

Denner,  dinner. 

Dere,  hurt,  harm. 

Dight,   attend   to,   prepare,   dress, 

meet  (in  battle);  dight,  pi.  ppl., 

done  (to  death). 
Ding  down,  knock  down,  lay  low. 
Dinna,  do  not. 
Dochter,  daughter. 
Do'en    (him,    her,    etc.),    betaken 

(himself,  herself,  etc.). 
Doubt,  fear. 

Dought  na,  was  not  able  to. 
Dow,  dove. 
Down,  «.,  hill. 
Drap,  drop. 
Drawen,  drawn. 
Dree,  suffer,  endure. 
Dub,  pool. 
Dule,  sorrow. 

Eartly,  earthly,  human. 
Ee,  eye;  ee-bree,  eyebrow. 
Een,  even,  evening. 
Een,  eyne,  eyes. 
Eldern,  elderly. 
Eneugh, enough. 


Words  ending  in  is  or  ys  for  (e)s  (genitive  and  plural  of  nouns,  3d  person 
singular  of  verbs)  and  in  it,  yt,  id,  yd  for  (e)d  (preterit  and  past  participle) 
are  not  glossed. 


Glossary 


323 


Evanish,  vanish. 
Evera,  every  one,  every. 
Everilkone,  everychon,  everyone. 
Evermair,  evermore. 
Everychon,  everilkone,  everyone. 
Eyne,  een,  eyes. 

Fa',  fall,  befall. 

Fader,  fadir,  father. 

Fadom,  fathom(s). 

Faem,  foam. 

FaU,  turf. 

Fan,  when. 

Fa'n,  fallen. 

Far,  where. 

Fare,  go,  voyage. 

Farley,  f erly,  adj.,  strange. 

Farley,  ferly,  n.,  wonder,  marvel. 

Farsed,  stuffed. 

Fash,  trouble. 

Fashous,  troublesome,  vexatious. 

Fat,  what. 

Fause,  false. 

Feard,  fear. 

Feared,  afraid. 

Feit,  feet. 

Ferly,  farley,  adj.,  strange,  wonder- 
ful. 

Ferly,  farley,  «.,  wonder,  marvel. 

Fettled,  made  ready. 

Fit,  foot,  feet. 

Flang,  flung. 

Forbot,  prohibition;  over  God's 
forbot,  against  God's  prohibition, 
God  forbid. 

Forenent,  against,  in. 

Fortnit,  fortnight. 

Forward,  agreement. 

Fra,  frae,  from. 

Free,  noble,  generous,  brave,  pre- 
cious, Qne,  etc. 


Fro,  from. 

Fu',  full;  very,  most. 
Fun,  whin,  furze,  heather. 
Fute,  whute,  whistle. 

Ga,  gae,  go;  pi.,  gaed,  ged,  went. 

Gae,  gaed,  gave. 

Gaf,  gave. 

Gane,  gone. 

Gang,  go. 

Gar,  make,  cause  (someone)  to;  gar 

the  bells  be  rung,  have  the  bells 

rung;  pt.,  gard,  garr'd. 
Gars-green,  grass-green. 
Gat,  got. 
Gaun,  going. 
Gear,  property. 
Ged,  went. 
Geid,  gave. 
Gi',  gie,  give;  p!.,  gi'ed,  gaf,  gae, 

gaed,  gave;  pi.  pp!.,  gi'en,  given. 
Gif,  if. 

Gin,  if;  (after  interjection)  but. 
Ginnest,  beginnest. 
Glee,  glove. 
Glent,  glinted,  passed  swiftly,  "like 

a  flash." 
Goud,  gowd,  gold;  gowden,  golden. 
Graith,  equipment,   armor,  "horse 

and  arms"  (Child). 
Greet,  grit,  gravel. 
Greves,  groves. 
Grith,    peace,    royal    assurance   of 

peace. 
Grumly,  terrible,  fierce. 
Gude,  gueed,  gueede,  guid,  good. 

Ha',  have. 
Ha',  hall. 
Hadna,  had  not. 
Hae,  have. 


Words  ending  in  is  or  ys  for  (e)s  (genitive  and  plural  of  nouns,  3d  person 
singular  of  verbs)  and  in  it,  yt,  id,  yd  for  (e)d  (preterit  and  past  participle) 
are  not  glossed. 


324 


Glossary 


Hald,  hold;  pi.  ppl.,  halden,  held. 

Haled,  hauled,  drew  back. 

HaU-yate,  portal. 

Hame,  home. 

Han',  hand. 

Harness,  armor. 

Haugh,  low  ground,  bottom  land. 

Hause-bane,  collar  bone. 

Heir,  inherit. 

Hell-yates,  hell-gates. 

Helpen,  vb.,  help. 

Hem,  them. 

Hent  up,  picked  up,  took  up. 

Here,  their. 

Hersel',  herself. 

Hert,  heart;  pL,  hertes. 

He's,  he  shall.    See  's. 

Het,  heated,  hot. 

Hewen,  hewn,  hewed. 

Hie,  haste. 

Hie,  high. 

Hielanders,  Highlanders. 

Hight,  bid,  command. 

Hind,  young  man. 

Hind,  gentle. 

Hit,  it. 

Holland,  fine  Holland  linen. 

Hond,  hand. 

Honged,  hanged. 

Hooly,  slowly,  softly. 

Hop,  hope. 

Howk,  hoik,  dig. 

Hundrith,  hundred. 

Dka,  each. 

nkone,  each  one,  everyone. 
I's,  I'se,  I  shall.    See  's. 
Iwis,  truly,  indeed. 

Jaw,  wave. 

Jew,  stroke,  blow. 


Kame,  comb. 

Keep,  care. 

Keepit,  kept. 

Kem,  comb. 

Kemp,     warrior,     champion;     pi., 

kempes. 
Kempery,  warlike,  fighting. 
Ken,  know. 
Kilt,  tuck  up. 
Kirtle,  skirt. 
Kist,  pt.,  cast. 
Knicht,  knight. 
Knowen,  pres.  pi.,  know. 
Kye,  cows. 

Laigh,  low. 

Laily,  loathly,  loathsome. 
Lain,  lie,  falsehood. 
Laith,  loath,  sorry,  imwilling. 
Lan',  land. 

Lang,   long;  comp.   langer;   think 
lang,  grow  tired  (of  waiting,  etc.). 
Lap,  wrap. 
Lap,  leapt. 
Late,  let. 
Lauch, laugh. 

Lave,  rest  (of),  (the)  others. 
Laverock,  lark. 
Lawland,  Lowland. 
Lee,  lie. 
Leive,  leave. 
Leman,  lover,  loved  one. 
Lene,  lend. 
Let,  hinder,  hindered. 
Leven,  lawn,  glade. 
Licht,  alight,  alighted. 
'Lieve,  believe. 
Lift,  air. 
Lift,  lifted. 

Light,  lighted,  alighted. 
Lilly,  lovely. 


Words  ending  in  is  or  ys  for  (e)s  (genitive  and  plural  of  nouns,  3d  person 
singular  of  verbs)  and  in  it,  yt,  id,  yd  for  (e)d  (preterit  and  past  participle) 
are  not  glossed. 


Glossary 


325 


Lin,  let  up,  cease. 

Lind,  line,  linden  tree,  basswood. 

Ling,  bent-grass. 

Lither,  lazy  (and  mischievous). 

Live-lang,  livelong. 

Loe,  love. 

Loose,  release,  rescue. 

Lope,  leapt. 

Lough, laughed. 

Low,  flame. 

Low,   mound,  hill. 

Luikt,  looked. 

Mair,  more. 

Maister,  master.      ) 

Mak,  make. 

Make,  mate. 

Mane,  moan. 

Manhuid,  manhood. 

Mare,  more. 

Mary,  lady  in  waiting,  lady's  maid. 

Maugre :  in  the  maugre  of,  in  spite 
of. 

Maun,  must. 

Mavrone!  my  dear!  dear  me! 

Maw,  mow. 

May,  girl,  lass,  maiden,  virgin. 

May,  can;  could,  might. 

Meal-pock,  beggar's  bag. 

Mean,  moan. 

Meed,  mood,  courage,  heart. 

Meikle,  mickle,  much,  great. 

Meinie,  retinue,  following. 

Merk,  mirk,  murky,  dark. 

Merry  men,  followers,  companions 
in  arms. 

Mervel,  marvel. 

Met-yard,  measuring  stick,  yard- 
stick. 

Mich,  much. 

Micht,  might. 


Mickle,  meikle,  much,  great. 

Mider,  mother. 

Mind  on,  remember. 

Mirk,  merk,  murky,  dark. 

Mirry,  merry. 

Mither,  mother. 

Mo,  adv.,  more. 

Moder,  mother,  mother's. 

Mony,  many. 

Muckle,  much. 

Muir,  moor,  swamp,  swampy  fields 
or  meadows;  muir-men,  peas- 
ants. 

Mutch,  cap. 

Mysel',  myself. 

Na,  nae,  adv.,  no,  not;  na  often 

affixed  to  verb:  dinna,  couldna; 

adj.,  no;  nae  ane,  naebody,  no 

one,  nobody. 
Nane,  adj.,  none,  no  one;  adv.,  not 

once,  not  at  all. 
Nat,  not. 

Ne,  nor;  ne  none,  nor  any. 
Neave,  fist. 
Needna,  need  not. 
Nicked :  nicked  him  of  nay,  refused 

him. 
Nigh,  draw  near. 
No,  na,  nae,  adv.,  not. 
Noo,  now. 

Nourice,  nurse,  nursing  mother. 
Nouther,  neither. 

O',  of,  for,  about. 
Ony,  any. 

Or,  ere,  before;  or  e'er,  before. 
Ost,  host. 
Ought,  owed. 

Ower,  owre,  over,  too  (much, 
etc.). 


Words  ending  in  is  or  ys  for  (e)s  (genitive  and  plural  of  nouns,  3d  person 
singular  of  verbs)  and  in  it,  yt,  id,  yd  for  (e)d  (preterit  and  past  participle) 
are  not  glossed. 


^326 


Glossary 


Paction,  pact,  agreement. 

Pat,  put. 

Pellet,  ball,  bullet. 

Pestelet,  pistolet. 

Pike,  pick. 

Pine,  torment,  torture. 

Pitten,  pt.  ppl.,  put. 

Plait,  plaited,  intertwined. 

Plett,  plait. 

Pleugh,  plow. 

Plight,  plighted,  pledged. 

Pouthered,  powdered. 

Pu',  pull. 

Puir,  poor. 

Quin,  queen. 

Quit,  requited,  avenged. 

Quo',  quoth,  said. 

Rade,  rode. 
Raise,  rose. 

Rank,  order;  in  rank,  one  after  an- 
other. 
Rash,  rush,  bulrush. 
Rather,  earlier,  quicker. 
Read,  advice,  counsel. 
Read,  advise,  explain. 
Reave,  deprive. 
Reft,  bereft. 

Reid,  red;  reid-roan,  reddish  roan. 
Richt,  right. 
Rin,  run. 
Row'd,  unrolled. 

'S,  'se  (I'se,  ye's,  etc.),  shall,  must; 
contraction  of  has  (cf.  "That 
goodlie  gift  has  be  her  ain" 
Child's  No.  6A,  st.  24,  and  French 
future  il  donnera,  i.  e.,  donner  a, 
literally  "he  has  to  give"). 

Sa,  sae,  so. 

Saft,  soft. 


Sair,  sore;  sorely,  bitterly. 

Sal,  sail,  shall, 

San,  since. 

Sark,  shirt. 

Saul,  soul. 

Saut,  salt. 

Saw,  vb.,  sow. 

Scad,  scald. 

Scroggs,  shrogs,  underbrush,  sticks 
or  stakes  cut  from  same. 

See:  Christ  you  save  and  see, 
watch  over,  protect. 

See,  pt.,  saw. 

Sen,  since. 

Sen',  send. 

Shaw,  grove  thicket. 

Shaw,  vb.,  show. 

Sheave,  slice. 

Shee,  shoe. 

Sheen,  bright,  radiant,  beautiful. 

Sheet,  shoot. 

Shent,  disgraced. 

Shet,  pt.,  shot. 

Sheugh,  ditch,  furrow. 

Shill,  shrill. 

Shinnes,  shins. 

Shold,  should. 

Shoon,  shoes. 

Shotten,  pt.  pi.,  shot. 

Shot-window,  unglazed  window  in 
a  tower  for  use  of  archers;  lookout. 

Shrad,  copse,  brushwood,  under- 
wood. 

Shrogs,  scroggs,  underbrush,  sticks 
or  stakes  cut  from  same. 

Sic,  sic  a  like,  such,  such  a. 

Side,  long,  wide. 

Sike,  trench,  ditch. 

Silkie,  seal. 

Siller,  silver. 

Simmer,  summer. 


Words  ending  in  is  or  ys  for  (e)s  (genitive  and  plural  of  nouns,  3d  person 
singular  of  verbs)  and  in  it,  yt,  id,  yd  for  (e)d  (preterit  and  past  participle) 
are  not  glossed. 


Glossary 


V-l 


Sin,  since. 

Sin,  sun. 

Sith,  since. 

Skaith,  harm,  damage. 

Slade,  valley. 

Slee,  sly;  slily. 

Slicht,  vb.,  slight. 

Slon,  slay. 

Smale,  adj.  pi.,  small. 

Sooth,  true. 

Soud,  sould,  should;  soud  hae, 
should  have. 

Sowdan,  sultan. 

Spak,  spak. 

Sped,  brought  to  an  issue,  attended 
to. 

Speered,  asked,  inquired. 

Speird,  spierd,  asked,  asked  for, 
inquired. 

Sprent,  spurted. 

Stane,  stone. 

Stap,  stop,  live,  dwell. 

Staid,  steed. 

Sterre,  star. 

Stickit,  sticked,  stuck. 

Store:  set  no  store  by,  not  think 
much  of. 

Stour,  onset,  Sght,  clash  of  battle. 

Straik,  vh.,  streak,  brush. 

Strang,  strong. 

Straught,  straight;  straightway. 

Streen :  the  streen,  yesterday  even- 
ing. 

Stranger,  stronger. 

Sud,  suld,  should. 

Sum,  some. 

Swapt,  smote;  swapt  together, 
struck  at  each  other. 

Swara,  swore. 

Swat,  pi.,  sweat,  sweated. 

Sward,  sword. 


Swaven,  dream. 
Switha,  stoutly. 

Syne,  since,  then,  next,  after  that, 
thereupon. 

Tae:  the  tae  .  .  .  the  tither,  the 

one  .  .  .  the  other.     See   tane, 

tone. 
Ta'en,  taken. 
Tak,  take. 
Tane:  the  tane,  the  one  (of  us,  of 

them,  etc.).    See  tae,  tone. 
Tana,  taken,  captured. 
TeU'd,  told. 

Tent,  tend,  take  care  of. 
Tatt,  plaited  strand  of  hair. 
Thae,  those,  the. 
Thame,  them. 
Than,  then. 
The',  they. 

Theek,  vh.,  thatch,  line. 
Thegither,  together. 
Then,  than. 

Thiderward,  thitherward. 
Thorough,  thrae,  through. 
Thrast,  thrust,  forced  their  way. 
Thraw,  throw. 
Thristlecock,  thrush. 
Thritty,  thirty. 

Throly,  stubbornly,  eagerly,  boldly. 
Thu,  thou. 
Till,  lure,  entice. 
Till,  prep.,  of  place  as  well  as  time, 

to. 
Tint,  lost. 

Tirl,  rattle  (the  latch-pin). 
Tither,  (the)  other. 
Tithingas,  tidin^'s. 
Tone:   the  tone  .  .  .  the  tother, 

the  one  .  .  .  the  other.    See  tae, 

tane. 


Words  ending  in  is  or  ys  for  (e)s  (genitive  and  plural  of  nouns,  3d  person 
singular  of  verbs)  and  in  it,  yt,  id,  yd  for  (e)d  (preterit  and  past  participle) 
are  not  glossed. 


328 


Glossary 


Tooken,  pt.  pi.,  took. 

Toom,  empty. 

Tether,  (the)  other. 

Tree,  beam,  timber,  wood;  the  cross. 

Trouth,  troth,  (sense  of)  honor. 

Trow,  true,  believe. 

True-love,  lover,  beloved  one. 

Tul,  till. 

Turmentures,  tormentors,  execu- 
tioners. 

Twa,  two. 

Twin,  separate,  part;  pi.,  twined, 
twinn'd. 

Unbend,  pt.,  unbound,  untied. 

Unce,  unknown,  strange,  extraor- 
dinary; very. 

Unshemly,  unseemly. 

Until,  prep.,  of  place  as  well  as  time, 
to,  unto. 

Upe',  upon. 

Verament,  truly. 

Vew,  yew;  vew-bow,  yew-bow. 

Wad,  would;  wad  hae,  would  have; 

wadna,  would  not. 
Wae,  woe. 
Wald,  would. 
Walylalas! 
Wan,  wand. 
Wane,  wene,  number. 
War,  were. 
Wardle,  world. 
Ware,  aware. 
Wark,  werk,  work,  deed. 
Warld,  world. 
Warst,  worst. 
Washen,  pt.  ppl.,  washed. 
Wat,  wot,  know,  knows. 
Wauken,  waken. 


Waur,  worse. 

Weel,  well;  weel-far'd,  well- 
favored,  goodlooking;  weel- 
tappit,  well  preened,  well  groomed, 
spruce. 

Weepand,  weeping. 

Weet,  wet. 

Weir,  war. 

Wende,  go. 

Werk,  wark,  work,  deed. 

Wha,  who;  whae'er,  whoever. 

Whan,  when. 

Whatten,  what,  what  a. 

Wheder,  whether. 

Whute,  fute,  whistle. 

V/i',  with. 

Wight,  creature,  person,  thing. 

Wight,   strong,  sturdy,  bold. 

Win,  «.,  wind;  vb.,  dry  (hay). 

Win,  won. 

Win:  win  in,  get  (back)  in;  win 
near,  get  near  (to). 

Wiss,  wish. 

Wist,  knew. 

Wit,  knowledge,  understanding. 

Withouten,  without. 

Weld,  would. 

Wene,  wane,  number. 

Wen  up,  win  up,  get  up. 

Weed,  mad,  crazy. 

Worth:  wee  worth  thee,  woe  be  un- 
to thee. 

Wot,  know,  knows. 

Weuch,  distress. 

Wow!  alas! 

Wrang,  wrong. 

Wreken,  pt.  ppl.,  avenged. 

Wud,  wood. 

Wull,  will. 

Yare,  ready. 


Words  ending  in  is  or  ys  for  (e)s  (genitive  and  plural  of  nouns,  3d  person 
singular  of  verbs)  and  in  it,  yt,  id,  yd  for  (e)d  (preterit  and  past  participle) 
are  not  glossed. 


Glossary 


329 


Yate,  yett,  gate. 

Yede,  went. 

Yee,  eye. 

Yeman,  yeoman;  pi.,  yemen. 

Yer,  your. 

Yerl,  earl. 

Yerly,  early. 

Ye's,  ye  shall,  ye  must.     See  's. 


Yestreen,  yesterday   evening,  last 

night. 
Yett,  yate,  gate. 
Yeven,  give. 
YiU,  ale. 

Yisterday,  yesterday. 
Yoman,  yeoman. 
Yond,  adj.,  adv.,  yon,  yonder. 


Words  ending  in  is  or  ys  for  (e)s  (genitive  and  plural  of  nouns,  3d  person 
singular  of  verbs)  and  in  it,  yt,  id,  yd  for  (e)d  (preterit  and  past  participle) 
are  not  glossed. 


ENGLISH 

READING5-FOR 

SCHOOLS 

H 

H 

ra^ 

M 

s 

P 

IB 

H 

^ 

S^^ 

s 

M 

w 

H 

8 

i 

"  Reading 
mateth    a    full 
man,  conference 
a    ready  man, 
and  writing  an 
exact  man. 

^aCOTL 

i 

W^ 

gg 
^ 

r^Tiir/, 

1 

^ 

M 

3 

® 

8 

s 

^ 

B 
^ 

ra 

^ 

^ 

B 

K^^ 

^ 

^^^ 

)^T 

^^ 

^/f^ 

^ 

f^ 

ra 

ra 

1 

'(TJn 

W\ 

ra 

8 

fe 

s 

M^ 

M 

^ 

M 

w 

s 

^H 

S 

m 

H 

H 

m 

K 

1 

5 

w 

^ 

^ 

(« 

^K 

R 

M 

M 

1 

